UC-NRLF 


SB    353    7ED 


The  Metropolitan  Museum  of  Art    I 


HAND-BOOK   No.  7 


Sculptural 


Plaster-casts 


and 


Bronze-reproductions 

In    Halls   6,  7,   8,   9,   10   and   11. 


PUBLISHED    BY 

THE  METROPOLITAN  MUSEUM  OF  ART 


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MARQUAND  COLLECTION 


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5423^6 


EGYPTIAN  SECTION, 

Hall  6. 


1.  Statue,  with  Relief  and  Inscription. 
Subject:  Portrait  of  King  Kha-f-ra. 

Artist:  A   Sculptor   of  the  Fourth   Dynasty. 
Date  of  Execution :  B.  C.  3766-3566. 
Material  of  Monument :  Green  Basalt. 
Station  in  Ancient  Times :  Temple  of   Harmakhis  near 
the  Sphinx  and  the  Great  Pyramid  of  GIzeh. 

Place  of  Exhibition  To-day :  Museum  of  Gizeh. 

2,  3,  4.     Low-reliefs,  with  Legends. 

Panels  of  the  Scribe  Hesi-ra. 

A  Sculptor  of  the  Fourth  Dynasty.     B.  C.  3766-3566. 
Sycamore  Wood. 
•      Blank  Doors  of  HesI's  Tomb  at  Sakkarah. 
Museum  of  Gizeh. 

5.  Half-size  Statue. 

Portrait  of  the  "Shaikh  el-Beled,"  or  < Native  Chief 

of  the  Village.' 
A  Sculptor  of  the  Fifth  Dynasty.     B.  C.  3566-3300. 
Wood  of  the  Sycamore-fig  Tree. 
A  Tomb  at  Sakkarah. 
Museum  of  Gizeh. 

6.  LOW-RELIEF,   WITH  LEGEND. 
Domestic  Ducks,  Geese,  and  Cranes. 

A  Sculptor  of  the  Fifth  Dynasty.     B.  C.  3566-3300. 

White   Limestone. 

Mastabah  of  the  Priest  Th!,  at  Sakkarah. 

Still  in  place. 

(5) 


\  marquand  collection. 

7.  Low-relief,  with  Legend. 
Procession  of  Offering-bearers. 

A  Sculptor  of  the  Fifth  Dynasty.     B.  C.  3566-3300. 

White   Limestone. 

Mastabah  of  ThI,  at  Sakkarah. 

8.  Low-relief,  with  Legend. 
Procession  of  Offering-bearers. 

A  Sculptor  of  the  Fifth  Dynasty.     B.  C.  3566-3300. 

White  Limestone. 

Mastabah  of  the  Priest  Thi,  at  Sakkarah. 


9.     Low-relief,  with  Legend. 

Harvest-scene:  Donkeys  laden  with  Sheaves. 

A  Sculptor  of  the  Fifth  Dynasty.     B.  C.  3566-3300. 

White  Limestone. 

Mastabah  of  the  Priest  Thi,  at  Sakkarah. 

10.  Low-relief,  with  Legend. 
Donkeys  fording  Inundation. 

A  Sculptor  of  the  Fifth  Dynasty.     B.  C.  3566-3300. 

White  Limestone. 

Mastabah  of  the  Priest  Th!,  at  Sakkarah. 

11.  Low-relief,  with  Legend. 
Procession  of  Victims  for  Sacrifice. 

A  Sculptor  of  the  Fifth  Dynasty.     B.  C.  3566-3300. 

White  Limestone. 

Mastabah  of  the  Priest  Th!,  at  Sakkarah. 

12.  Low-relief,  with  Legend. 
Procession  of  Victims  for  Sacrifice. 

A  Sculptor  of  the  Fifth  Dynasty.     B.  C.  3566-3300. 

White  Limestone. 

Mastabah  of  the  Priest  ThI,  at  Sakkarah. 


EGYPTIAN  SECTION— HALL  6. 

13.     Low-relief,  with  Legend. 
Field-laborers  using  the  Pick. 

A  Sculptor  of  the  Fifth  Dynasty.     B.  C.  3566-3300. 
White  Limestone. 
Mastabah  of  the  Priest  ThI,  at  Sakkarah. 


14.  Low-relief,  with  Legend. 
Domestic  Gazelle  and  Ibex. 

A  Sculptor  of  the  Fifth  Dynasty.     B.  C.  3566-3300. 

White  Limestone. 

Mastabah  of  the  Priest  Th!,  at  Sakkarah. 

15.  Low-relief,  with  Legend. 
Oxen  and  Calves  fording  Inundation. 

A  Sculptor  of  the  Fifth  Dynasty.     B.  C.  3566-3300. 

White  Limestone. 

Mastabah  of  the  Priest  Thi,  at  Sakkarah. 

16.  Low-relief,  with  Legend. 
Procession  of  Victims  for  Sacrifice. 

A  Sculptor  of  the  Fifth  Dynasty.     B.  C.  3566-3300. 

White  Limestone. 

Mastabah  of  the  Priest  Thi,  at  Sakkarah. 

. 

17.  Low-relief,  with  Legend. 
Milking  Scene. 

A  Sculptor  of  the  Fifth  Dynasty.     B.  C.  3566-3300. 

White  Limestone. 

Mastabah  of  the  Priest  Th!,  at  Sakkarah. 

18.  Low-relief,  with  Legend. 
Flock  of  Numidian  Cranes. 

A  Sculptor  of  the  Fifth  Dynasty.     B.  C.  3566-3300. 

White  Limestone. 

Mastabah  of  the  Priest  ThI,  at  Sakkarah. 


8  MARQUAND  COLLECTION. 

19.  Statuette. 

Hippopotamus,  marching  through  the  Reeds  of  the 

River-side. 
A  Sculptor  of  the  Eleventh  Dynasty.     B.  C.  2500. 
Blue  Faience. 

A  Tomb,  at  Drah-abi>-el-Neggah  (Thebes). 
Museum  of  Gizeh. 

20.  Statuette,  with  Inscription. 
Amen-em-hat,  Chief  of  the  First  Rank. 

A  Sculptor  under  the  reign  of  Neb-kher-Ra.  (Mentu- 
hotep.)     Eleventh  Dynasty,  B.  C.  2500. 

21.  Hollow-relief,  with  Inscription. 
Sepulchral  Tablet  of  An-tef. 

A  Sculptor  of  the  Twelfth  Dynasty.     B.  C.  2466-2250. 

White  Limestone. 

Abydos  :  'Arabat  el-MedfOneh. 

Museum  of  Gizeh. 

22.  Statuette. 

Amen-em-hat,  Chamberlain  to  the  King. 

A  Sculptor  of  the  Twelfth  Dynasty.     B.  C.  2466-2250 

Dark  Granite. 

British  Museum,  London. 

23.  Statuette. 

User-tes-en,  Superior  of  the  Temple  at  Abydos. 
A  Sculptor  of  the  Thirteenth  Dynasty.     B.  C.  2100. 
•Black  Granite. 
Abydos. 
Museum  of  Gizeh. 

24.  Head,  colossal. 

Portrait  of  an  Hyksos  King,  Apepi  II.  ? 

A  Sculptor  of  the  Sixteenth  Dynasty.    B.  C.  1950-1700,, 

Black  Granite. 

Near  the  Eastern  Entrance  of  the  Temple,  at  Bubastis. 

British  Museum,  London. 


EGYPTIAN  SECTION— HALL  6,  9 

25.  Low-relief. 

Portrait  of  the  Queen  of  Pun-t. 

A  Sculptor  of  the  Eighteenth  Dynasty.     B.  C.  1600. 

Limestone. 

Stage-temple  of  Queen  Hat-a-su,  Central  Terrace,  at   DaIr 

el-BaharI. 
Museum  of  Gizeh. 

26.  Head,  colossal. 

Portrait  of  King  Thothmes  III. 

A  Sculptor  of  the  Eighteenth  Dynasty.     B.  C.  1600. 

Gray  Granite. 

Karnak. 

Museum  of  Turin. 

27.  Head,  colossal. 

Portrait   of  King   Amenophis   II.,   from   a   kneeling 

statue. 
A  Sculptor  of  the  Eighteenth  Dynasty.     B.  C.  1566. 
Syenite. 
Museum  of  Turin. 

28.  Statue,  colossal:   with  Relief. 
Portrait  of  King  Amenophis  III.  enthroned. 

A  Sculptor  of  the  Eighteenth  Dynasty.     B.  C.  1500. 

Black  Granite,  passing  into  Syenite. 

Near   the   Colossi,  of   which   one  is  the  renowned   "Vocal 

Memnon,"  standing  in  the  Libyan  suburb  of  Thebes. 
British  Museum,  London. 

29.  Head. 

Portrait  of  Queen  Thi  ?  wife  of  King  Amenophis  III. 

A  Sculptor  of  the  Eighteenth  Dynasty.     B.  C.  1500. 
Finely  grained  Limestone. 
Karnak. 
Museum  of  Gizeh. 


10  MARQUAND  COLLECTION. 

30.     Monument,  with  Inscription. 
Recumbent  Lion  of  Amenophis  III. 
A  Sculptor  of  the  Eighteenth  Dynasty.     B.  C.  1500. 
Syenite. 
Temple  at  Soleb  in  Nubia  ;  but  afterwards  removed  to  Gebel 

Barkal,  by  the  Ethiopian  King  Amen-esred. 
British  Museum,  London. 


31.  Head. 

Portrait  of  King  Heru-em-heb. 

A  Sculptor  of  the  Eighteenth  Dynasty. 

B.C.  1 466-1400. 

Black  Granite. 

Karnak. 

Museum  of  Gizeh. 

32.  Statue,  with  Inscription. 

Portrait  of  Kan-nekht,  squatting :   dedicated    to    the 

deity  Osiris. 
A  Sculptor  of  the  Eighteenth  Dynasty. 
B.  C.  1 700-1400. 
Black  Basalt. 
British  Museum,  London. 

33.  Carving,  with  Inscription. 

Sepulchral  Tablet  of  Neb-sa-i-u,  High-priest  of  Osiris. 

A  Sculptor  of  the  Eighteenth  Dynasty. 

B.  C.  1700-1400. 

Limestone. 

Abydos:  'ArAbat  el-Medfuneh. 

Museum  of  Gizeh. 

34.  Low-relief,  with  Legend. 

Ptah-mes,  Superintendent  of  his  Majesty's  Memorial 
Works  in  the  Temple  of  Ptah. 


egyptian  section— hall  6.  11 

35.  Head. 

Portrait  of  King  Seti  I. 

A  Sculptor  of  the  Nineteenth  Dynasty. 

B.  C.  1366-1333. 

British  Museum,  London. 

36.  Hollow-relief,  with  Inscription. 

King  Seti  I.,  warring  against  the  Syrian  Bedawin  at 

the  Fortress  of  Kanana  (Canaan). 
A  Sculptor  of  the  Nineteenth  Dynasty. 
B.  C.  1366-1333. 
Sandstone. 

Northern  Wall  of  the  Great  Temple,  at  Karnak. 
Still  in  situ. 

37.  Bust,  with  Cartouches. 

Portrait  of  King  Rameses  II.,  from  a  seated  Statue. 
A  Sculptor  of  the  Nineteenth  Dynasty. 
B-  C.  1333-1300. 
Black  Granite. 
Museum  of  Turin. 

38.  Bust,    colossal  :    with     Inscription    (upon 

pilaster). 

Portrait  of  King  Rafneses  II.:  Belzoni's  "Memnon." 
A  Sculptor  of  the  Nineteenth  Dynasty. 

Syenite. 

South  Side  of  the  Ramesseum,  at  Thebes. 

British  Museum,  London. 

39.  Half  Statue,  with  Cartouches. 
Portrait  of  King  Rameses  H. 

A  Sculptor  of  the  Nineteenth  Dynasty. 

Syenite. 

Island  of  Elephantine. 

British  Museum,  London. 


12  marquand  collection. 

40.  Low-relief,  with  Inscription. 

King  Rameses  II.,  offering  Incense  before  the  goddess 

Hathor. 
A  Sculptor  of  the  Nineteenth  Dynasty. 

B.  C.  i333-i3°°- 
Limestone. 

Museum  of  Turin. 

41.  Relief,  with  Cartouches. 

Naos-facade,  bearing  Portrait  of  King  Rameses  II. 
B.  C  1333-1300. 

42.  Statue,  with  Inscription. 

Portrait  of  Prince  Seti  II.,  son  of  King  Menephtah. 

A  Sculptor  of  the  Nineteenth  Dynasty.     B.  C.  1266. 

Light-colored  Sandstone. 

Karnak. 

British  Museum,  London. 

43.  Hollow-relief,  with  Inscription. 
Portrait  of  King  Rameses  III. 

A  Sculptor  of 'the  Twentieth  Dynasty. 

B.  C.  1200-1100.  • 

Limestone. 

Tomb  of  the  Harper  (No.  n),  B!ban  el-Muluk,  at  Thebes. 

Still  in  place. 

44.  Hollow-relief. 
Philistine  Prisoners. 

A  Sculptor  of  the  Twentieth  Dynasty. 
.  B.  C.  1 200-1 100. 
Limestone. 
Large  Temple  of  King  Rameses   III.,    Facade   of  the   Second 

Pylon,  Southern  side  :  Med!net  HabO,  at  Thebes. 
Still  in  place. 


EGYPTIAN  SECTION— HALL  6.  13 

45.  Statue,  with  Inscription. 

Portrait    of    Queen    Ameniritis,    mother-in-law    of 

King  Psammetichus  I. 
A  Sculptor  of  the  Twenty-fifth  Dynasty. 
B.  C.  700-666.  % 

Statue — Alabaster.     Socle — Gray  Granite. 
Karnak. 
Museum  of  Gizeh. 

46.  Head. 

Portrait  of  the  Ethiopian  Conqueror  Taharka,  muti- 
lated. 

A  Sculptor  of  the  Twenty-fifth  Dynasty.     B.  C.  693. 
Black  Granite. 

LUKSOR. 

Museum  of  Gizeh. 

47.  Hollow-relief,  with  Inscription. 

King  Apries  (Haa-ab-Ra,  son  of  the  Sun,  Uah-ab-Ra), 
offering  Symbols  of  Truth  to  the  goddess 
Sekhet. 

A  Sculptor  of  the  Saitic  or  Twenty-sixth  Dynasty. 

B.C.  666-527. 

48.  Statuette. 

Hor-nekht,  Second  Prophet  of  the  deity  Amen. 
A    Sculptor    of    the    Saitic    Epoch.       Twenty-sixth 
Dynasty.     B.C.  666-527. 

Gray  Serpentine*. 

Workshop  of  a  Sculptor,    discovered    in   the   year   1864,    at 

mltrahineh,  amid  the  ruins  of  memphis. 
Museum  of  Gizeh. 

49.  Stela,  with  Inscription. 

Deity  Horus,  standing  upon  Crocodiles. 

A    Sculptor    of    the    Saitic    Epoch.     Twenty-sixth 

Dynasty.     B.  C  666-527. 
Black  Basalt. 
Found  at  Alexandria. 
Museum  of  Gizeh. 


14  MARQUAND  COLLECTION. 

50*     Monument,  with  Phoenician  Inscription. 

Sarcophagus  of  Eshmunazar,  King  of  Sidon,  about 
B.  C.  36o. 

A    Sculptor    of    the    Saitic     Period,     Twenty-sixth 

Dynasty.     B.  C.  666-527. 
Black    Amphibolite,   from    the    quarries    at    Ham  ma  mat,  near 

Kosseir,  Egypt. 
Sais?  from  whence  it  was  exported  to  Sidon,  in  Syria." 
Museum  of  the  Louvre,  Paris. 

51.  Monument,  with  Inscription. 

One  side  of  an  Obelisk  erected  by  Nekht-heru-heb 
(Nektanebo  I.),  before  a  Temple  of  the  deity 
Thoth. 

A  Sculptor  of  the  Thirtieth  Dynasty.     B.  C.  378-360. 

Fine  Black  Basalt. 

Station  in  Ancient  Times :     Unknown.     Brought   by   the 
French  Expedition  from  Cairo. 

British  Museum,  London. 

52.  Group,  with  Inscription. 

Portrait  of  Psamthik,  a  deceased  "  Recorder  of  Offer- 
ings," conducted  by  the  goddess  Hathor,  under 
the  figure  of  a  cow,  to  the  Judgment-hall  of 
the  god  Osiris. 

A  Sculptor  of  the  Thirtieth  Dynasty.  Era  of  Nekht- 
heru-heb  (Nektanebo  I.).   B.  C.  378. 

Green  Basalt. 

Tomb  of  Queen  Kheteb-nit-ari-heb,  at  Sakkarah. 

Museum  of  Gizeh. 

53.  Statuette,  with  Inscription. 
Deity  Osiris. 

A  Sculptor  of  the  Thirtieth  Dynasty.     B.  C.  378-358. 
Green  Basalt. 

Tomb  of  the  Queen  Kheteb-nit-ari-heb,  at  Sakkarah. 
Museum  of  Gizeh. 


egyptian  section— hall  6.  15 

54.     Statuette,  with  Inscription. 
Goddess  Isis. 

A  Sculptor  of  the  Thirtieth  Dynasty.     B.  C.  378-358. 
Green  Basalt. 

Tomb  of  the  Queen  Kheteb-nit-ari-heb,  at  Sakkarah. 
Museufn  of  Gizeh. 


55.     Head. 

Portrait  of  a  Negro. 

A  Sculptor  of  the  Ptolemaic  Period.   B.  C.  323-30. 

British  Museum,  London. 


56.     Low-relief. 
Deity  Bes. 

A  Sculptor  of  the  Ptolemaic  Period.     B.  C.  323-30. 
Temple  of  Hathor,  at  Denderah. 
In  place. 


57.     Head. 

Egyptio-Grecian  Portrait. 

British  Museum,  London. 


58.     Hollow-relief,  with    Hieroglyphic,   Demo- 
tic, and  Greek  Inscriptions. 
Stela   of  Kanopos :    a  Decree  issued  by  the  Priests 

of  all  Egypt  assembled  at   Kanopos,  relating 

to    the    Honors    to   be    paid   to     Ptolemy  III. 

(Euergetes   I.),  to  his  queen  Berenice,  and  to 

their  daughter  Berenice. 
B.  C.  238. 
White  Limestone. 

Found  in  the  year  1866,  at  SAn    (Tanis). 
Museum  of  Gizeh. 


16  MARQUAND  COLLECTION. 

59.  Trilingual     Inscription  —  Hieroglyphic, 

Demotic,  and  Greek. 
Rosetta  Stone :  a  Record  and  Decree  by  the  Priests 
of  Memphis    conferring    Divine  Honors  upon 
Ptolemy  V.,  Epiphanes. 
B.  C.  196. 
Black  Basalt. 

Found  in  the  year  1798,  among  the  remains  of  a  Temple  dedi- 
cated TO  THE  DEITY  NECHO,  BY  PHARAOH  NeCHO,  NEAR  THE 
MOUTH   OF  THE   ROSETTA   BRANCH   OF  THE   RlVER  NlLE. 

British  Museum,  London. 

60.  Low-relief  (cartouch  not  original). 
Portrait  of  Queen  Kleopatra  VII.,  wearing  the  Mena- 

necklace,  and  the  head-dress  of  Maut,  Hathor 
and  Isis. 

A  Sculptor  of  the  Ptolemaic  Period.  B.  C.  52-30. 
Exterior  rear  Wall,  Temple  of  Hathor,  at  Denderah. 
Still  in  place. 

61.  Low-relief. 

Portrait  of  Queen  Kleopatra  VII.,  wearing  the  Mena- 

necklace  and  a  crown  of  Royal  Asps. 
A  Sculptor  of  the  Ptolemaic  Period.     B.  C.  52-30. 

62.  Low-relief. 
Portrait  of  Kleopatra  VII. 

A  Sculptor  of  the  Ptolemaic  Period.     B.  C.  52-30. 

63.  Low-relief. 

Kleopatra,  robed  as  the  goddess  Maut. 
A  Sculptor  of  the  Roman  Period.     B.  C.  27. 
Temple  of  Hathor,  at  Denderah. 

64.  Low-relief,  with  Legend. 

Goddess  Hathor. 

A  Sculptor  of  the  Roman  Period.     B.  C.  27. 
Temple  of  Hathor,  at  Denderah. 


EGYPTIAN  SECTION-HALL  6.  17 

65.  Low-relief,  with  Legend. 
Goddess  Isis. 

A  Sculptor  of  the  Roman  Period.     B.  C.  27. 
Temple  of  Hathor,  at  Denderah. 

66.  Low-relief. 
Goddess  Sekhet. 

A  Sculptor  of  the  Roman  Period.     B.  C.  27. 

Temple  of  Hathor,  at  Denderah. 

67.  Statuette. 
Goddess  Sekhet. 
Museum  of  the  Louvre,  Paris, 

68.  Low-relief. 
Sculptor's  Model  of  Bull. 

Museum  of  Gizeh.  t 

69.  Low-relief. 
Sculptor's  Model  of  Ram. 

Museum  of  Gizeh. 

70.  Low-relief. 
Sculptor's  Model  of  Lion. 

Museum  of  Gizeh. 

71.  72.     Heads. 

Sculptor's  Models  for  Royal  Portraits. 

73.  Architectural  Fragment. 
Cornice  of  Royal  Asps. 

74.  Ornamental    Standard    for    the    balance, 

officially  certified  by  a  Phoenician 
Inscription  signifying,  "  Found  correct  by 
the  Commissioners  for  Money." 

Weight,  in  form  of  a  Lion. 

Bronze. 

Found  at  Abydos. 

British  Museum,  London. 


ASSYRIAN   SECTION, 

Hall  7. 


1.  Statue,  with  Inscription. 

Subject:  King   Gudea,   as   an    Architect    with    Plan 

of  Fortress. 
Artist:  Unknown. 

Date  of  Execution:  Between  B.  C.  3000  and  2500. 
Material  of  Monument :  Deep  green  Diorite. 
Station  in  Ancient  Times:  Courtyard,   Palace  of   Gudea, 

at  Telloh,  in  Chaldea. 
Place  of  Exhibition  To-day :  Museum  of  the  Louvre,  Paris, 

2.  Statue,  with  Inscription. 

King  Gudea,  as  an  Architect  with  Scale  of  Measure- 
ment. 
Between  B.  C.  3000  and  2500. 
Deep  blue  Diorite. 

Courtyard,  Palace  of  Gudea,  at  Telloh,  in  Chaldea. 
Museum  of  the  Louvre,  Paris. 

3.  Statue,  with  Inscription. 

King  Gudea,  as  worshiper  of  the  god  Nin-girsu. 

Between  B.  C.  3000  and  2500. 

Diorite,  black  with  a  tinge  of  blue. 

Courtyard,  Palace  of  Gudea,  at  Telloh,  in  Chaldea. 

Museum  of  the  Louvre,  Paris. 

4.  Statue,  with  Inscription. 

King  Gudea,  as  a  worshiper  of  the  goddess  Ba-u. 
Between  B.  C.  3000  and  2500. 
Black  Granite. 

Courtyard,  Palace  of  Gudea,  at  Telloh,  in  Chaldea. 
Museum  of  the  Louvre,  Paris. 

(18) 


ASSYRIAN  SECTION— HALL  7.  19 

5.  Head. 

Portrait  of  a  Chaldean,  wearing  a  Cap  of  Fur  or  Wool 

with  border  turned  up. 
Between  B.  C.  3000  and  2500. 
Green  Diorite. 

Mound  near  the  Palace  of  Gudea,  at  Telloh,  in  Chaldea. 
Museum  of  the  Louvre,  Paris. 

6.  Head. 

Portrait  of  a  Chaldean,  shaven  of  Hair  and  Beard. 

Between  B.  C.  3000  and  2500. 

Bluish  black  Diorite. 

Courtyard,  Palace  of  Gudea,  at  Telloh,  in  Chaldea. 

Museum  of  the  Louvre,  Paris. 

7.  Monument,  with  Low-reliefs  and  Inscription. 
Boundary-stone,  inscribed  with  Land-contract,  and 

engraved  with  Figure  of  King  Marduk-nadin- 
akhi? 

About  B.  C.  1 100. 

Black  Basalt. 

British  Museum,  London. 

8.  Low-relief,   with  Inscription. 

Two  Kings  in  Posture   of  Adoration   on  either  side 

of  Sacred  Tree,  attended  by  Cherubim. 
B.  C.  885-860. 
Gypsum. 

Palace  of  Ashur-nazir-pal,  at  Nimrud  (Calah). 
British  Museum,  London. 

9.  Low-relief,  with  Inscription. 

Cherubim  kneeling  in  Adoration  of  a  Sacred  Tree, 
whose  foliage  takes  the  form  of  the  Honey- 
suckle-ornament so-called. 

B.  C.  885-860. 

Gypsum. 

North-western  Edifice,  at  Nimrud  (Calah). 

British  Museum,  London. 


20  MARQUAND  COLLECTION. 

io.     Low-relief,  with  Inscription. 
King  hunting  Wild  Bulls. 
B.  C.  885-860. 
Gypsum. 

Palace  of  Ashur-nazir-pal,  at  Nimrud  (Calah). 
British  Museum,  London. 


11.     Low-relief,  with  Inscription. 
King  offering  Libation  after  Bull-hunt. 
B.  C.  885-860. 
Gypsum. 

Palace  of  Ashur-nazir-pal,  at  Nimrud  (Calah). 
British  Museum,  London. 


12.     Low-relief,  with  Inscription. 
King  hunting  Lions. 
B.  C.  885-860. 
Gypsum. 

Palace  of  Ashur-nazir-pal,  at  Nimrud  (Calah). 
British  Museum,  London. 


13.     Low-relief,  with  Inscription. 
King  offering  Libation  after  Lion-hunt. 
B.  C.  885-860. 
Gypsum. 

Palace  of  Ashur-nazir-pal,  at  Nimrud  (Calah). 
British  Museum ,  London. 


14.     Low-relief,  with  Inscription. 

Cherub  and  Eunuch  (Attendants  of  the  King). 

B.  C.  885-860. 

Gypsum. 

Palace  of  Ashur-nazir-pal,  at  Nimrud  (Calah). 

British  Museum,  London. 


ASSYRIAN  SECTION— HALL  7.  21 

15.     Low-relief,  with  Inscription. 

King  Ashur-nazir-pal,  Seraphs  and  Sacred  Tree. 

B.  C.  885-860. 

Gypsum. 

Palace  of  Ashur-nazir-pal,  at  Nimrud  (Calah). 

British  Museum,  London. 


16.     Low-relief,  with  Inscription. 
King  Ashur-nazir-pal. 
B.  C.  885-860. 
Gypsum. 

Palace  of  Ashur-nazir-pal,  at  Nimrud  (Calah). 
British  Museum,  London. 


17,  18,  19,  20.     Low-relief,  with  Inscriptions. 
King  Ashur-nazir-pal  going  forth  to  Battle. 
B.  C.  885-860. 
Gypsum. 

Palace  of  Ashur-nazir-pal,  at  Nimrud  (Calah). 
British  Museum,  London. 


21,  22,  23.     Low-relief,  with  Inscriptions. 

King  Ashur-nazir-pal  returning  from  Battle  to  Camp. 

B.  C.  885-860. 

Gypsum. 

Palace  of  Ashur-nazir-pal,  at  Nimrud  (Calah). 

British  Museum.  London. 


24.     Low-relief,  with  Inscription. 
Lion,  wounded. 
B.  C.  885-860. 
Gypsum. 

Palace  of  Ashur-nazir-pal,  at  Nimrud  (Calah). 
British  Museum,  London, 


22  MARQUAND  COLLECTION. 

25.     Low-relief,  with  Inscription. 
Royal  Chariot. 
B.  C.  885-860. 
Gypsum. 

Palace  of  Ashur-nazir-pal,  at  Nimrud  (Calah). 
British  Museum,  London. 


26.     Low-relief,  with  Inscription. 
King  attacking  a  City. 
B.  C.  885-860. 
Gypsum. 

Palace  of  Ashur-nazir-pal,  at  Nimrud  (Calah). 
British  Museum,  London. 


27.     Low-relief,  with  Inscription. 
King  receiving  Prisoners. 
B.  C.  885-860. 
Gypsum. 

Palace  of  Ashur-nazir-pal,  at  Nimrud  (Calah). 
British  Museum,  London. 


28.     Low-relief,  with  Inscription. 
King  receiving  Prisoners  and  Spoil. 
B.  C.  885-860. 
Gypsum. 

Palace  of  Ashur-nazir-pal,  at  Nimrud  (Calah). 
British  Museum,  London. 


29.     Low-relief. 
King  taking  a  City. 
B.  C.  885-860. 
Gypsum. 

Palace  of  Ashur-nazir-pal,  at  Nimrud  (Calah). 
British  Museum,  London. 


ASSYRIAN  SECTION— HALL  7.  23 

30.  Monument,  with  Low-reliefs  and  Inscription. 
Obelisk  of  Shalmaneser  II. 

B.  C.  860-825. 

Black  Marble. 

Central  Building  at  Nimrud  (Calah). 

British  Museum,  London. 

31.  Monument,  with  Low-relief  and  Inscription. 
Portrait-stela   of  King  Sargon,  set  up  to  commemo- 
rate his  Conquest  of  the  Island  of  Cyprus. 

B.  C.  722-705. 

Gabbro  (a  species  of  coarse  Greenstone,  the  native  rock  of 
Monte  St.  Croce  and  the  region  of  Furni,  Strullos,  and 
Mavro  Vuno,  not  far  from  the  Marina  of  Larnaka). 

Ruins  of  Kition  (Larnaka),  where  it  was  discovered  in  the 
year  1845. 

Museum  of  Berlin. 

32.  Low-relief. 

Royal  Party  hunting  Lions. 

B.  C.  668-626. 

Limestone. 

Palace  of  Ashur-bani-pal,  at  Kuyunjik  (Nineveh). 

British  Museum,  London. 

33.  Low-relieV,  with  Inscription. 
King  offering  Libation  after  Lion-hunt. 
B.  C.  668-626. 

Limestone. 

Pala'ce  of  Ashur-bani-pal,  at  Kuyunjik  (Nineveh). 

British  Museum,  London. 

34.  Low-relief. 

Royal  Party  hunting  "Wild  Asses. 

B.  C.  668-626. 

Limestone. 

Palace  of  Ashur-bani-pal,  at  Kuyunjik  (Nineveh). 

British  Museum*  London. 


34  marquand  collection. 

35.  Low-relief. 

King  and  Queen  banqueting  in  Garden. 

B.  C.  66S-626. 

Limestone. 

Palace  of  Ashur-bani-pal,  at  Kuyunjik  (Nineveh). 

British  Museum,  London. 

36.  Low-relief. 

Musicians,  with  their  Instruments. 

B.  C.  668-626. 

Limestone. 

Palace  of  Ashur-bani-pal,  at  Kuyunjik  (Nineveh). 

British  Museum,  London, 

37.  Low-relief. 

Lioness  wounded  unto  Death. 

B.  C.  668-626. 

Limestone. 

Palace  of  Ashur-bani-pal,  at  Kuyunjik  (Nineveh). 

British  Museum,  London. 

38.  Low-relief. 
Human-headed  Lion. 
B.  C.  668-626. 
Limestone, 

Palace  of  Ashur-bani-pal,  at  Kuyunjik  (Nineveh). 
British  Museum,  London. 

39.  Low-relief. 

Return  from  the  Chase :  Hunting-dogs  held  in  Leash. 

B.  C.  668-626. 

Limestone. 

Palace  of  King  Ashur-bani-pal,  at  Kuyunjik  (Nineveh). 

British  Museum,  London. 

40.  Relief. 

Detail  of  Horses'  Heads. 


ASSYRIAN  SECTION-HALL  7.  25 

41.  Relief,  colossal. 

Detail  of  Human  Nose  and  Mouth. 

42.  Relief,  colossal. 
Detail  of  Human  Beard. 

43.  Relief. 

Profile  of  Human  Face. 

44.  Low-relief. 

King  receiving  an  Enemy  suing  for  Peace. 

B.  C.  885-860 

Gypsum. 

Palace  of  Ashur-nazir-pal,  at  Nimrud  (Calah). 

British  Museum,  London. 

45.  Tablet,  with  Cuneiform  Inscription. 
Subject:    Portion  of  an  epic   Poem  relating  to  the 

Deluge. 

Artist:  Copied  by  an  Assyrian  Scribe  from  an  early 
Babylonian  Text. 

Date  of  Execution:  Between  the  era  of  King  Ashur- 
nazir-pal  who  reigned  at  Calah  (Nimrud)  B.  C.  885, 
and  that  of  King  Ashur-bani-pal  who  reigned  at 
Kuyunjik  (Nineveh)  B.  C.  668. 

Material  of  Monument:  Fine  Terra-cotta,  inscribed  while 
soft  and  then  baked  in  a  furnace  until  hard. 

Station  :  Royal  Assyrian  Library  :  discovered  by  Sir  Henry 
Layard  and  George  Smith,  Esq.,  on  the  site  of  the  palace 
of  Ashur-bani-pal,  at  Kuyunjik. 

Place  of  Exhibition  To-day :  A  Reconstruction  from  sev- 
eral fragments  preserved  in  the  British  Museum ,  London. 


PERSIAN   SECTION, 

Hall  6. 


I.     Low-relief. 

Subject:  Portrait  of  King  Cyrus. 

Artist:  Unknown. 

Date  of  Execution:  B.  C.  538. 

Material  of  Monument:  White  Limestone. 

Station  in  Ancient  Times:  Meshed  MurghAb,  Plain  of  the 

River  Polwar  (Pasargad^e)  . 
Place  of  Exhibition  To-day :  Still  in  situ. 


Low-relief. 

King  Darius  killing  a  Griffin. 
B.  C.  488. 

Fine  dark  gray  Limestone. 
Eastern  Portal  of  the  Palace  of  Darius,  at  Persepolis. 


Low-relief. 

King  Darius  killing  a  Lion. 
B.  C  488. 

Fine  dark  gray  Limestone. 
Western  Portal  of  the  Palace  of  Darius,  at  Persepolis. 


Low-relief. 
Lion,  from  a  series  in  a  Frieze  crowning  bull-headed 

Pilasters. 
B.  C.  488. 
Dark  Limestone. 
Tomb  in  the  Royal  Mountain,  above  Persepolis. 

(26) 


PERSIAN  SECTION— HALL  6.  27 

5.  Low-relief. 

Deputation  of  conquered  Peoples  bringing  Tribute  to 

the  King. 
B.  C.  486-465. 
Dark  gray  Limestone. 

Wall  of  the  Grand  Stairway  leading  up  to  the  Terrace  of 
the  tshihel-minar,  at  persepolis. 

6.  Low-relief. 

Deputation-frieze :  conquered  Nations  bearing  Tribute 

to  the  King  of  Kings. 
B.  C.  486-465. 
Dark  gray  Limestone. 

Wall  in  front  of   the   Great   Stairway  leading  up  to   the 
Terrace  of  the  Tshihel-minar,  at  Persepolis. 

7.  Low-relief. 
Lions  attacking  Bulls. 
B.  C  486-465. 

Dark  gray  Limestone.  • 

Wall  of  the  Grand  Stairway  leading  up  to  the  Terrace   of 
the  Tshihel-minar,  at  Persepolis. 

8.  Low-relief. 

Sentinel,  or  one  of  the  Body-guard  of  the  King. 
Dark  gray  Limestone. 

In   front   of   Stairway   leading   up   to    the   Terrace  of   the 
Tshihel-minar,  at  Persepolis. 

9.  Architectural  Detail. 
Base  of  a  Column. 

Persepolis. 

10.     Low-relief. 

Frieze  of  Lions  in  procession. 

B.  C.  405-359. 

Bricks,  moulded,  enameled  and  baked. 

Entablature   of    Propylea    to    the    Palace    of    Artaxerxes 

Mnemon,  at  Susa. 
Museum  of  the  Louvre^  Paris. 


28       *  MARQUAND  COLLECTION. 

11.  Low-relief. 
Frieze  of  Archers. 

B.  C.  405-359- 

Square  Plates  of  white  Concrete,  moulded  and  enameled. 

Facade    of    the    ApadAna    to    the    Palace    of    Artaxerxes 

Mnemon,  at  SusaT 
Museum  of  the  Louvre,  Paris. 

12.  Low-relief. 
Oriental  Themes. 

An  Hellenic  Imitator  of  Archaic  Work.     B.  C.  300  ? 
Hymettian  Marble. 

Found  on  the  Hill  of  the  Museion,  at  Athens. 
Barbakeion  Lykeion,  Athens. 

13.  Half-size  Statue. 

Persian  Warrior,  cowering;  Group  representing  the 
Battle  of  Marathon. 

A  Sculptor  of  the  Pergamene  School  :  Hellenistic 
Age.     About  B.  C.  198. 

White  Marble. 

Ex-voto  Offering  of  Attalos  L,  king  of  Pergamon,  set  up 
on  the  Southern  Wall  of  the  Akropolis,  Athens.  Found, 
early  in  the  Sixteenth  Century,  near  the  Baths  of 
Alexander  Severus,  in  Rome. 

Museum  of  Aix,  in  Southern  France. 

14.  Half-size  Statue. 

Persian  Warrior,  defending  himself:  Group  com- 
memorating the' Victory  at  Marathon. 

A  Sculptor  of  the  Pergamene  School  :  Hellenistic 
Age.     About  B.  C.  198. 

White  Marble,  from  Asia  Minor.  ^ 

Ex-voto  Offering  of  Attalos  I.,  king  of  Pergamon,  set  up 
on  the  Southern  Wall  of  the  Akropolis,  Athens.  Found, 
early  in  the  Sixteenth  Century,  near  the  Baths  of 
Alexander  Severus,  in  Rome. 

Museum  of  the  Vatican  {Galleria  dei  Candelabri),  Rome. 


PERSIAN  SECTION— HALL  6.  29 

15.  Half-size  Statue. 

Persian  Warrior,  fallen :  from  the  Group  of  the 
Battle  at  Marathon. 

A  Sculptor  of  the  Pergamene  School  :    Hellenistic 

Age.     About  B.  C.  198. 
White  Marble. 
Ex-voto  Offering  of  Attalos  I,,    king  of  Pergamon,  set  up 

on  the  Southern  Wall  of  the  Akropolis,  Athens.    Found, 

early   in   the   sixteenth   century,    near  the   baths  of 

Alexander  Severus,  in  Rome. 
Museum  of  Naples. 

16.  Head  :  originally  attached  to  a  plinth. 
King  Darius,  wearing  a  Persian  tiara.  Or,  a  conquered 

Galatian,  dying. 

An  early  Pergamene  Master. 

Toward  the  end  of  the  Third  Century,  B.  C. 

Marble. 

Found,  about  the  year  1867,  on  the  Palatine  Hill,  at  Rome. 

Museo  Nazionale  Romano,  Rome. 

17.  Group,  larger  than  life-size. 

Subject:  Mounted  Persian,  or  Karian  Prince  (?),  in 
the  act  of  striking  down  with  his  spear  a  foe 
on  foot. 

Artist:  The  Athenian  Sculptor  Bryaxis? 

Date  of  Execution :  Early  part  of  the  Fourth  Century,  B.  C. 

Material  of  Monument :    Marble. 

Station :    Found,  in  the  year  1856,  by  Sir  Charles  T.  Newton, 

within  the  Quadrangle  of  the  Mausoleum  at  Halikarnas- 

sos,  facing  the  stairway  of  approach. 
Place  of  Exhibition  To-day:  British  Museum,  London. 


ARCHAIC  GREEK  SECTION, 

Hall  7. 


1.  Monument,  with  Phoenician  Inscription. 
Subject:  Historical  Stela  of  Mesha,  King  of  Moab. 
Artist:  Unknown. 

Date  of  Execution :  About  B.  C.  850. 

Material  of *  Monument :  Black  Basalt. 

Station  in  Ancient  Times :  The  biblical  Dibon  :  discovered 

AT  DHIBAN,  ON  THE  EAST  OF  THE  DEAD  SeA,  AUGUST  1 9,   1 868. 

Place  of  Exhibition  To-day :  Museum  of  the  Louvre,  Paris. 

2.  High-relief,  colossal. 

Lions,  facing  one  another,  and  with  fore  feet  raised 

upon  the  base  of  a  column. 
Prehistoric  Period. 
Fine,  hard,  yellowish  gray  Limestone. 

Lintel  above  the  principal  entrance  to  the  Fortress  of  Myken^e. 
Still  in  place. 

3.  Low-relief. 

Fragment  of  Doorway-decoration. 

Prehistoric  Period. 

Red  Marble. 

"Treasury  of  Atreus,"  at  Myken^e. 

British  Museum,  London. 

4.  Low-relief. 

Fragment  of  Architrave-decoration. 

Prehistoric  Period. 

Green  Limestone. 

Near  the  "Treasury  of  Atreus,"  at  Myken^e 

British  Museum,  London. 

5.  Low-relief. 

Fragment  of  Ceiling-decoration. 

Prehistoric  Period. 

Green  Limestone. 

"Treasury  of  Minyas,"  at  Orchomenos. 

(80) 


ARCHAIC  GREEK  SECTION— HALL  7.  31 

6.  Low-relief,     wrought    and     engraved   au 

repoussi. 
Trapezoidal    Plaque,    decorated    with    mythological 
Themes  in  four  registers,  to-wit: 

Three  Eagles. 

Two  Griffins  standing  vis-a-vis. 

Bowman  sending  an  Arrow  after  a  Centaur  having  human  fore- 
legs, fleeing  :  an  episode,  doubtless,  in  the  legend  of  Herakles, 
and  recalling  the  flying  Centaurs  in  the  Frieze  of  the  Temple 
at  Assos. 

The  Asiatic  Artemis,  winged  and  holding  two  Lions  at  arms' 
length. 

Executed  by  an  early  workman  in  Oriental  style. 

Seventh  Century,  B.  C. 

Bronze. 

Near  the  Temple  of  Zeus  at  Olympia,  where  it  was  found  in 

THE  YEAR  1877. 

Museum  of  Olympia. 

7.  Head,  colossal.     (Olympian  Section.) 
Goddess  Here. 

A  Sculptor  in  primitive  Greek  art. 

Latter  part  of  the  Seventh  Century,  B.  C. 

Yellowish  white  Limestone. 

Colossal  Image  of  Here,  in  the  Heraion  at  Olympia. 

Museum  of  Oly?npia. 

8.  Low-relief. 
Herakles,  as  an  Archer. 
Sixth  Century,  B.  C. 
Bronze. 

Musewn  of  Olympia, 

9.  Relief. 

Perseus  beheading  Medousa. 
About  B.  C.  625. 
Brown  Tufa. 

Metope  of  Temple  at  Selinous,  in  Sicily. 
Museum  of  Palermo. 


32  MARQUAND   COLLECTION. 

IO.      Half-size"  Statue. 

Nike,  goddess  of  Victory,  winged. 

MlKKIADES,  AND  HIS  SON  ARCHERMOS. 

Toward  the  close  of  the  Seventh  Century,  B.  C. 

Parian  Marble. 

Island  of  Delos,  ljn  the  ^gean  Sea,  where  it  was  discovered 

in  the  year  1877. 
National  Museum,  Athens. 


11.     Monument,  with  Low-reliefs. 

Memorial  Stela,  representing,  on  the  one  side,  Zeus 
embracing  Alkmene  —  on  the  other,  Menelaos 
putting  Helen  to  the  sword  after  the  fall  of  Troy. 

Executed  by  an  early  Sculptor  of  the  Peloponnesian 
School.     Sixth  Century,  B.  C. 

Bluish  gray  Marble. 

Discovered  in  the  house  of  Demetrios  Minusakis  at  Sparta. 

Museum  of  Sparta. 


12  to  21.     Reliefs. 
Frieze-sculptures : 

12.  Four  Banqueters  reclining  at  table  after  Asiatic  manner. 

13.  Winged  Sphinx. 

14.  Contest  of  Herakles  with  Nereus. 

15.  Centaurs, 

16.  Bulls,  butting. 

17.  Wild  Boar. 

18.  Lion  devouring  Bull. 

19.  Lion  devouring  Stag  ? 
Metopes: 

20.  Galloping  Centaurs. 

21.  Winged  Sphinxes. 
Early  part  of  the  Sixth  Century,  B.  C. 
Dark  gray  Trachyte. 
Epistyle  of  the  Doric  Temple  at    Assos,   in    the   Souther* 

Troad,  Asia  Minor. 
Museum  of  the  Louvre,  Paris. 


ARCHAIC  GREEK  SECTION— HALL  7.  33 

22.  Statue,  with  Inscription  in  Greek. 

"  Nikandre,  daughter  of  Deinodikos  the  Naxian,  dis- 
tinguished among  all  women,  and  sister  of 
Deinomenos,  wife  also  of  Phraxos,  dedicated  me 
to  the  far-shooting  arrow-queen  [Artemis]." 

Early  work  of  a  Sculptor  belonging  to  the  Island- 
school,  or  School  of  Naxos.     Prior  to  B.  C.  560. 

Island  Marble,  retaining  the  form  of  a  Xoanon. 

Found  at  Delos,  in  the  ^Egean  Sea,  in  the  year  1878. 

National  Museum,  Athens. 

23.  Statue,  with  Inscription  in  Greek. 

"  I  am  Chares,  son  of  Kleisis,  and  Ruler  of  Teichioussa. 
My  statue  belongs  to  Apollo." 

Executed  by  an  Ionic  Sculptor. 

Middle  of  the  Sixth  Century,  B.  C 

White  Marble. 

On  the  Sacred  Way  leading  from  the  port  Panormos  up  to  the 

Temple  of  the   Didym^ean  Apollo    at    Branchid^e,   near 

Miletos,  Asia  Minor. 
British  Museum ,  London. 

24.  Statue. 

Portrait  of  a  Priestess  ? 

A  Sculptor  of  an  Ionian  School.     B.  C.  580-520. 

White  Limestone. 

On  the  Sacred  Way  leading  from  the  port  Panormos  up  to  the 

Temple    of    the   Didym^ean  Apollo  at  Branchid^e,  near 

Miletos,  Asia  Minor. 
British  Museum,  London. 

25.  Low-relief. 

Chorus  of  Dancers,  in  a  Dionysic  Festival. 

B.  C.  580-520. 

Marble. 

Found  at  Kara-Kouya,  of  Miletos,  in  Karia  :  or,  at  Teichioussa, 

near  Branchid^e  ? 
British  Museum,  London. 


34  MARQUAND   COLLECTION. 

26.  Relief.     (Hall  8:  Hellenic  Section.) 
Figure  of  the  god  Apollo  ?  fragments  of  a  Column 

offered  by  King  Kroisos. 

BOUPALOS,  SON  OF   ARCHERMOS?    UNDER  THE  SUPERINTEND- 
ENCE of  the  architect,  Chersiphron.  Prior  to  B.  C.  546. 
Asiatic  Marble. 

Drum  of  a  Columna  Celata,  in  the  Archaic  Artemision  at 
ephesos  :  found,  during  the  years  1872-1874,  beneath  the 
foundations  of  the  later  temple. 
British  Museum,  London. 

27.  Low-relief. 

Agamemnon,  attended  by  Talthybios  his  herald,  and 
Epeios  the  artist  of  the  "Wooden  Horse,  at  the 
Fall  of  Troy. 

Latter  half  of  the  Sixth  Century,  B.  C. 

White  Marble. 

Found,  in  the  year  1790,  on  the  Island  of  Samothrake,  in  the 
^Egean  Sea. 

Museum  of  the  Louvre,  Paris. 

28.  Statue. 

Temple-image    dedicated    to  the    goddess    Here    by 

Cheramaues. 
Executed  by  an  early  Sculptor  of  the  Island-school. 
Last  half  of  the  Sixth  Century,  B.  C. 
White  Marble,  retaining  the  form  ofaXoanon. 
Found  near  the  Heraion  of  Samos,  in  the  ^gean  Sea 
Museum  of  the  Louvre,  Paris. 

29.  30,  31.     Reliefs. 
Lykian  Motives. 

29.  Lion  devouring  Deer. 

30.  Satyr  in  conflict  with  Boar. 

31.  Lynx. 

Middle  of  Sixth  Century,  B.  C. 

Limestone. 

"Broad  Frieze"  :  Akropolis  at  Xanthos,  in  Lykia. 

British  Museum,  London. 


ARCHAIC  GREEK  SECTION— HALL  7.  35 

32  to  36.     Low-reliefs. 
Lykian  Motives: 

32.  Hen  standing  still. 

33.  Cocks  fighting. 

34.  Hen  stalking. 

35.  Cocks  fighting. 

36.  Cocks  fighting. 

Middle  of  the  Sixth  Century,  B.  C. 

Coarse  Limestone. 

"Narrow    Frieze"  :    Wall  of  the  Akropolis  at  Xanthos,  in 

Lykia. 
British  Museum,  London. 

37  to  40.     Reliefs. 

Lykian  Mythology  of  the  Dead :  engraved  upon  four 
sides  of  a  Tomb. 

37.  Southern  side. 

At  the  two  ends  representations  of  the  fabulous  "  Harpies," 
which  have  given  this  monument  its  current  name,  are  found, 
combining  the  breast,  arms,  and  head  of  a  human  being,  with 
the  wings,  oval  after-part,  tail-feathers,  legs  and  talons  of  a 
bird,  into  a  single  monster  :  they  wear,  at  least  upon  their 
arms,  chitons,  and  each  as  it  flies  transports  tenderly  away  a 
Soul  of  the  Dead,  clothed  in  a  long  garment,  and  fearlessly, 
even  affectionately,  lifting  its  little  arms  upward  toward  the 
neck  of  its  conductor.  As  conveyers  of  souls  to  the  lower' 
world,  however,  they  should  be  considered  Sirens,  or  messen- 
gers of  gentle  death,  rather  than  Harpies  who  were  symbolic 
of  violence. 

Between  these,  in  the  centre  of  the  relief,  a  male  yet  beardless 
Deity  of  the  Lower  World  sits  enthroned  facing  toward  the 
right :  a  sceptre  leans  against  his  left  shoulder,  in  his  right 
hand  he  holds  an  apple  or  a  quince,  in  his  left  a  pomegranate, 
his  feet  are  cased  in  pointed  shoes.  Before  him  stands  a  male 
worshiper,  just  deceased,  offering  him  by  the  left  hand  a  dove, 
and  raising  the  right  in  a  gesture  of  adoration. 

38.  Western  Side. 

On  the  left,  a  female  Divinity  occupies  a  throne  the  visible 
arm  of  which  terminates  in  the  head  of  a  ram,  and  is  supported 
by  a  sphinx  seated.  The  Goddess,  aged,  grave,  heavily  clothed 
by  an  Ionian  robe  with  long  sleeves,  adorned  with  bracelets, 


36  MARQUAND  COLLECTION. 

crowned  by  a  stephane,  possibly  the  Lykian  analogue  of  the 
Grecian  Demeter,  lifts  her  left  hand,  and  in  her  right  holds  a 
patera  as  if  about  to  receive  a  libation — indicative  of  her 
relation  to  the  grave  and  the  life  beyond. 

At  her  feet  the  Door-way  of  the  Tomb  opens — a  square 
aperture  into  a  chamber  about  seven  feet  large  and  high, 
through  which  were  passed  the  ashes  or  the  lifeless  form  of 
the  departed — emblematic  of  the  Gate  to  Hades  ?  Above  this 
was  carved  the  singular  design  of  a  Cow  giving  suck  to  a  Calf, 
possibly  in  suggestion  of  Renewal  of  Life. 

Three  worshiping  Maidens,  thence,  draw  near  into  the 
presence  of  another  Divinity  placed  at  the  opposite  end  of  the 
relief  :  one,  on  the  left,  slightly  raises  her  chiton  by  her  left 
hand,  in  her  right  bringing  an  egg,  inclosing  the  germ  of 
nascent  life  ?  as  an  offering — the  middle  one  bringing  a  flower 
of  the  pomegranate  in  her  left  hand,  and  in  her  right  a  fruit  of 
the  same,  symbolic  of  new  birth  or  renewed  bloom  ?  — the  one 
in  advance  opening  her  veil  by  her  left  hand  and  elevating  her 
chiton  by  her  right,  as  chief  petitioner  prays  for  her  two  fol- 
lowers as  well  as  herself. 

The  second  Goddess  enthroned  is  of  equal  rank  with  the 
first,  over  against  whom  she  sits  face  to  face  and  is  adorned 
with  similar  robes  and  ornaments — the  Lykian  Persephone? 
She,  too,  holds  a  pomegranate  fruit  in  one  hand,  and  in 
the  other  admires  a  flower  of  the  same  shrub.  The  back  of 
her  chair  ends  in  a  swan's  head,  its  arm  in  the  head  of  a 
ram. 

Both  Maidens  and  Divinity  in  this  scene  are  shod  with  foot- 
gear having  pointed  and  upturned  toes,  in  Hittite  style. 

39.     Eastern  Side. 

Here  the  central  figure  is  that  of  an  Infernal  Deity,  seated 
on  a  throne  whose  arm  is  ornamented  by  a  Triton,  indicating 
Poseidon  for  its  occupant  ?  facing  toward  the  right :  whatever 
his  name  or  character,  he,  also,  is  provided  with  a  long  sceptre, 
and  is  busily  looking  at  a  flower  held  up  in  his  right  hand. 
Into  his  audience  a  boy  is  approaching  from  the  world  of  the 
living,  bringing  a  cock  and  an  egg  as  offerings. 

Behind  the  throne  stand  two  fully  draped  male  votaries, 
the  one  provided  with  the  mystic  flower  and  fruit  of  the  pome- 
granate, the  other  holding  up  his  himation  by  his  left  hand 
and  lifting  his  right  hand  to  his  beard. 

At  the  further  corner,  a  young  Huntsman  enters,  accom- 
panied by  his  Dog,  carrying  a  stick  having  a  curved  handle  in 
his  left  hand,  and  a  gift  in  his  right. 


ARCHAIC  GREEK  SECTION— HALL  7.  37 

40.     Northern  Side. 

At  the  centre  of  this  scene  an  aged  bearded  Deity,  Hades  ? 
completely  draped,  occupies  a  throne  facing  toward  the  left 
hand,  beneath  which  the  cub  of  a  bear  is  lurking  :  like  all 
others  he  is  supplied  with  a  sceptre,  or  a  spear,  and  he  is 
depicted  in  the  act  of  receiving  the  tribute  of  a  crested  helmet 
from  a  young  soldier  lately  deceased. 

The  hoplite  is  dressed  in  a  short  chiton,  a  cuirass  of  leather, 
greaves,  a  short-sword  inserted  in  its  sheath,  and  has  brought 
along  his  shield,  which  he  rests  upon  its  edge  at  his  feet.  He 
resembles  very  closely,  in  his  outline  and  dress,  the  deceased 
champion  of  the  Archaic  Warrior-stela,  No.  46,  in  the  Olympian 
Section,  and  Aristion  upon  his  Sepulchral  Portrait-relief, 
No.  47,  in  the  same  Section. 

In  early  times  the  armor  of  a  hero  was  placed  in  his  grave 
or  was  attached  to  his  tomb. 

Again  at  each  end  appear  Harpies,  sharing  the  stephane 
with  other  female  personages  in  these  reliefs  ;  and,  as  before, 
they  are  fondly  caressed  by  the  child-like  Souls  they  bear 
hence. 

On  the  right-hand  corner,  beneath  the  last  Harpy,  a  draped 
female  survivor  has  fallen  to  the  ground  under  the  stroke  of 
affliction,  and  sorrowfully  gazes  upward  to  watch  the  carrying 
off  of  her  loved  one,  till  the  last  moment  of  sight. 

Executed  by  a  Sculptor  of  the  early  Ionian  School. 
Middle  of  the  Sixth  Century,  B.  C. 

White  Marble. 

Frieze  running  around  the  " Harpy  Monument"  so-called,  on 
the  akropolis  at  xanthos,  in  lykia  :  where  it  was  discov- 
ered in  the  year  1838,  by  slr  charles  fellows. 

British  Museum,  London. 


Relief. 
Funeral-procession  of  Chariot,  Horsemen,  and  Foot- 
soldiers. 
Latter  part  of  the  Sixth  Century,  B.  C. 
Limestone. 

Tomb  at  Xanthos,  in  Lykia. 
British  Museum.  London. 


38  MARQUAND  COLLECTION. 

42.     Low-relief. 

Grave -monument  —  a   filial    Tribute    to   a    Mother 

formerly  styled  the  "  Leukothea  Relief." 
A  Sculptor  of  an  early  Ionian  School. 
Latter  part  of  the  Sixth  Century,  B.  C 
Parian  Marble.  j 

Villa  Albania  Rome. 


43.     Relief. 

Hades    and    Persephone    enthroned:    a    Sepulchral 

Tablet. 
Sixth  Century,  B.  C. 

Bluish  gray  Lakonian  Marble. 

Found  at  Chrysapha,  near  Sparta,  in  Lakonia. 

Museum  of  Berlin. 


44.  Half-size  Head. 
Goddess  Here.  * 

Colored  in  the  technique  of  Corinthian  Vases  dating  from  the 

Sixth  Century,  B.  C. 
Terra-cotta. 

Found,  on  December  4,  1880,  at  Olympia. 
Museum  of  Olympia. 

45.  Base,  for  a  Sphinx  ?  engraved  in  low-relief. 
A  Sepulchral  Monument  commemorating  : 

Upon  its  face,  The  Deceased,  a  Youth  on  Horseback; 

On  one  side,  His  aged  Father  overcome  with  Grief; 

On  the  other  side,  Female  Relations,  weeping. 
Sixth  Century,  B.  C. 
Hymettian   Marble. 
Found,  in  the  year  1886,  in  the  Chapel  of  Saint  John  at  Lam- 

brika,  of  attika. 
National  Museum,  Athens. 


ARCHAIC  GREEK  SECTION— HALL  7.  39 

46.  Low-relief.     (Olympian  Section.) 
Archaic  Warrior-stela. 

Executed  by  an  early  Attic  Sculptor. 

Latter  part  of  the  Sixth  Century,  B.  C. 

Pentelic  Marble. 

Found,    in   the   year   1888,   at   Dionysos,    site   of   the   Attic 

demos  of  ikaria,   by  the  excavations  of  the  american 

School  of  Classical  Studies  at  Athens. 

In  the  house  of  Iliopoulos,  at  Stamata. 

47.  Low-relief,       with       Greek       Inscription. 

(Olympian  Section.) 
Sepulchral  Portrait-relief  of  Aristion. 

Aristokles,  an  Attic  Sculptor. 

Between  B.  C.  527  and  510. 

Light  gray  Pentelic  Marble. 

Found  near  the  town  Velanideza,  of  Eastern  Attika,  in  the 

YEAR   1838. 

National  Museum,  Athens. 

48.  Low-relief,       with       Greek       Inscription. 

(Olympian  Section.) 
Memorial  Portrait-figure. 

"Alexenor,  the  Naxian." 

Toward  the  end  of  the  Sixth  Century,  B.  C. 

Gray  Boeotian  Marble. 

First  observed  in  the  village  of  Petra-Magula,  near  Orcho- 

MENOS. 

National  Museum,  Athens. 

49.  Low-relief. 

Charioteer  (or,  The  god  Apollo  ?)  and  his  Quadriga. 
A  Sculptor  of  the  Attic  School.     About  B.  C.  500. 
Pentelic  Marble. 
Found,  in  the  year  1822,  near  the  Klepsydra  on  the  Akropolis, 

at  Athens. 
Akropolis  Museum,  Athens. 


40  MARQUAND  COLLECTION. 

50.  Low-relief. 
Diskos-bearer. 

An  early  Attic  Sculptor. 

Pentelic  Marble. 

Found,  in  the  year  1873,    near  the  site  of  the  Dipylon  Gate, 

at  Athens. 
National  Museum,  Athens. 

51.  Low-relief,  with  Inscription  in  Greek. 
Sepulchral  Stela  of  Polyxene. 

First  half  of  the  Fifth  Century,  B.  C. 

Marble. 

Larissa,  in  Thessalia,  where  it  was  discovered  in  the  year  1882. 

National  Museum,  Athens. 

52.  Low-relief,  with  Inscription  in  Greek. 
Sepulchral  Stela  of  Vekedamos. 

First  half  of  the  Fifth  Century,  B.  C. 

Marble. 

Found,  in  the  year  1882,  at  Larissa  in  Thessalia. 

National  Museum,  Athens. 

53.  Relief,  with  Inscription  in  Greek. 

Deity  Apollo  crowned  by  Nymphs  :  Hermes  followed 

by  one  of  the  Graces. 
Fifth  Century,  B.  C. 
White  Marble. 
Thasos,  where  it  was  discovered  on  the  site  of  the  olden  city, 

IN  THE  YEAR  1864. 

Museum  of  the  Louvre,  Paris. 

54.  Relief. 

Two   Women  :    Portion    of   an    Archaic   Sepulchral 
Stela. 

Marble. 

Found  in  ^Egina. 

JEgina. 


ARCHAIC  GREEK  SECTION— HALL  7.  41 

55  to  64.     Statues. 

Struggle  between  Greek  and  Trojan  Heroes  over  the 
body  of  Achilleus. 

Greeks  (on  the  left  to  the  spectator). 

55.  Wounded  Warrior. 

56.  Ajax,  son  of  Oileus,  in  watchful  attitude. 

57.  Teukros,  kneeling  behind  Ajax   Telamonios  and  shooting 
with  bow  and  arrow. 

58.  Ajax    Telamonios,    standing    and    covering    the    head    of 
Achilleus  with  his  shield. 

59.  Achilleus,  fallen  and  protected  by  the  goddess  Athene. 

60.  Goddess  Athene,  in  the  centre  of  the  Tympanum. 

Trojans  (on  the  right  to  the  spectator). 

61.  tineas,    standing    and     aiming    his    spear    against    Ajax 
Telamonios. 

62.  Paris,   distinguished    by    Phrygian    cap,    opposed    to   the 
archer,  Teukros. 

63.  Kneeling  Contestant. 

64.  Wounded  Warrior. 

Executed  by  Onatas,  and  his  School.      B.  C.  479. 

Parian  Marble. 

Western  Pediment  of  the  Temple  of  Athene,  at  >3Egina,  where 

they  were  discovered  by  j.  m.  wagner  in  the  year  l8ll. 
Glyptothek,  Munich. 

65  to  69.     Statues. 

Struggle  over  the  body  of  Oikles,  in  which  the  JEacid 
Telamon  and  Herakles  were  engaged. 

65.  Dying  Trojan  (on  the  left  to  the  spectator). 

66.  Foremost  Champion  of  the  Trojans. 

67.  Fallen  Warrior. 

68.  Youth  stooping  to  raise  and  bear  away  the  Fallen  Warrior. 

69.  Herakles,  distinguished  by  a  helmet  formed  from  the  skin 
of  a  lion's  head. 

Executed  by  Onatas,  and  his  School.     B.  C.  479. 

Parian  Marble. 

Eastern  Pediment  of  the  Temple  of  Athene,  at  ^Egina,  where 

they  were  discovered  by  j.  m.  wagner  in  the  year  l8ll. 
Glyptothek,  Munich. 


42  MARQUAND  COLLECTION. 

70.  LOW- RELIEF. 
Commemorative  sepulchral  Stela :  a  Maid  in  waiting 

upon  her  Mistress  the  deceased. 

An  Attic  Sculptor,  of  archaic  period  and  style. 

Fifth  Century,  B.  C. 

Pentelic  Marble. 

Found  on  the  Esquiline  Hill,  in  the  old  Villa  Caserta,  where 

it  was  used  for  the  covering  of  a  drain,  at  rome. 
Palazzo  dei  Conservatori  (Octagonal  Hall),  Rome. 

71.  Monument,  with  Low-reliefs. 
Base    of   a    Tripod,  known  as    the    "Altar    of   the 

Twelve  Gods." 

An  Imitation  of  the  Altar  of  Twelve  Gods  erected  by  the 

Peisistratidae  about  B.  C.  524. 
Pentelic  Marble. 
Museum  of  the  Louvre \  Paris  :  from  the  Villa  Borghese. 

72.  Half-size  Statue. 
The  god  Apollo  ? 
Sixth  Century,  B.  C. 
Marble. 

Site  of  the  Temple  to  Apollo  Ptoos,  in  Bozotia. 
British  Museum,  London. 

73.  Half-size  Statue. 
Apollo  ? 

Executed  by  a  Sculptor  belonging  to  the  School  of 
Kallon  I.,  of  ^Egina.     About  B.  C.  524. 

Marble. 

Found  on  the  Island  of  Anaphe,  in  the  ^Egean  Sea. 

British  Museum,  London  :  formerly  in  the  collection  of  Viscount 
Strangford. 

74.  Statue. 
Apollo  ? 

Middle  of  the  Sixth  Century,  B.  C. 

Pentelic  Marble. 

Found  in  the  year  1846,  at  Athiki,  site  of  the  ancient  Tenea, 

in  Korinthia. 
Glyptotheky  Munich. 


ARCHAIC  GREEK  SECTION— HALL  7.  43 

75.     Statue. 
Apollo. 

Sixth  Century,  B.  C. 
Island  Marble. 

Found  on  the  Island  of  Melos,  in  the  ^Egean  Sea. 
National  Museum,  Athens. 


76      Object  in  ornamental  Design — a   knob    or 
hook  ? 
Head  of  a  Griffin. 
a  very   early   grecian  artist  capable  of  improving 

upon  a  Phoenician  or  Oriental  Pattern. 
Seventh  Century,  B.  C. 
Bronze. 
Found,  in  the  year  1877,  off  the  Western  End  of  the  Temple 

to  Zeus,  at  Olympia. 
Museum  of  Olympia. 


77.      High-relief  :  end  of  Sepulchral  Chest. 
Lion,  recumbent,  seizing  a  Bull  by  the  throat. 
Earliest  Lykian  Sculptor. 
Oriental  Era,  prior  to  Ionian  Influence. 
Dark,  coarse,  hard  Limestone. 
Found  in  its  original  position,  on  top  of  a  mortuary  pillar, 

at  Xanthos,  in  Lykia. 
British  Museum,  London. 


78.      High-relief  :   end  of  Sepulchral  Chest. 
Lioness,  recumbent,  playing  with  her  Cubs. 
Earliest  Lykian  Sculptor. 
Oriental  Era,  prior  to  Grecian  Influence. 
Dark  colored,  coarse,  hard  Limestone. 
Found  upon  a  funerary  stela  at  Xanthos,  in  Lykia. 
British  Museum,  London. 


43  A  MARQUAND  COLLECTION.     ' 

79.  Relief  :  Gable-end  of  a  Tomb. 

Sphinx,  wearing  no  Cap,  but  a  broad  Taenia,  and  a 
pendent  Ear-ring:  above,  a  Lion  facing  inward. 

An  early  Ionic  Master. 
Not  far  from  B.  C.  550. 
Limestone. 
Xanthos,  in  Lykia. 
British  Museum,,  London. 

80.  Relief:  Gable-end  of  a  Tomb. 

Sphinx,  wearing  a  Cap,  a  narrow  Taenia,  and  a  pend- 
ent Ear-ring :  above,  a  Lion  facing  inward. 
An  early  Ionic  Master. 
Not  far  from  B.  C.  550. 
Limestone. 
Xanthos,  in  Lykia. 
British  Museum,  London. 

81.  Relief  :  Gable-end  of  a  Tomb. 

Aged  Lykians  seated  facing  one  another,  on  either 
side  of  a  low  column  surmounted  by  an  Ionic 
capital  and  a  Siren  standing  to  the  front. 

A  Sculptor  belonging  to  the  early  Ionian  School  in 
Asia  Minor. 

About  B.  C.  550. 

Limestone. 

Xanthos,  in  Lykia. 

British  Museum,  London. 

82       Low-relief  :  side  of  a  Sepulchral  Chest. 
Eastern  Theme:  Hero  killing  a  Lion. 

Earliest  Lykian  Sculptor. 

Oriental  Era,  prior  to  Ionian  Influence. 

Dark,  coarse,  hard  Limestone. 

Found  undisturbed  upon  a    plain  high  shaft  at  Xanthos  in 

Lykia. 
British  Museum,  London. 


ARCHAIC  GREEK  SECTION— HALL  7.  43  b 

83.  Low-relief  :  side  of  a  Sepulchral  Chest. 
Cavalier,  Attendant,  and  Foot-soldier  fully  armed. 
Earliest  Lykian  Sculptor. 

Oriental  Era,  prior  to  Occidental  Influence. 
Dark,  coarse,  but  hard  Limestone. 
Found  upon  its  high  pedestal  at  Xanthos,  in  Lykia. 
British  Museum,  London. 

84.  Architectural    Reconstruction,   decorated 

with  reliefs,  and  inscribed  with  lykian 
characters.  (hall  12  :  collection  of 
Willard  Architectural  Casts.) 

Tomb  of  the  Satrap  Paiafa. 

An  Ionian  Artist  in  Lykian  Service. 

Prior  to  546  B.  C,  the  date  of  Invasion  by  the  Persians 
under  Harpagos. 

Marble. 

Found  at  Xanthos  by  Sir  Charles  Fellows  in  his  expeditions 
of  the  years  1842  and  1846. 

British  Museum,  London. 

85.  Statuette,  in  the  form  of  a  Xoanon. 
One  of  the  Eumenides,  or  Furies. 

A  Spartan  (?)  Sculptor. 

Primitive  Period,  or  prior  to  560  B.  C. 

Bluish  gray  Lakonian  Marble. 

Found  near  the  Bouleuterion,  at  Olympia. 

Museum  of  Olympia. 

86.  Statuette. 
Priestess  (?)  holding  a  Bird. 
An  Etruscan  Sculptor. 
Earliest  Period. 

Tufa,  with  the  Bird  in  Bronze. 
British  Museum,  London. 


43  C  MARQUAND  COLLECTION. 

87.  Head,  broken  off  from  its  Statue. 
Apollo  ? 

A  Sculptor  in  the  type  immediately  following  the 

Xoanon. 
Sixth  Century,  B.  C. 
Island  Marble. 

Found  in  ancient  Epidauros,  in  the  year  1888. 
National  Museum ,  Athens.  v 

88.  Head  :  the  remnant  of  a  Statue. 

Apollo  ?  type  of  the  Xoanon-like  figure  from  Orcho- 

menos. 
A  Sculptor  accustomed  to  working  in  wood  or  bronze. 
Earliest  epoch  of  Grecian  Art. 
White  Boeotian  Stone:  Maurice  Holleaux.     (Pentelic  Marble: 

Kabbadia.) 
Found,  in  the  year  1885,  near  the  Temple  of  Apollo  Ptoos  at 

Perdiko-brysis,  in  Bceotia. 
National  Museum,  Athens. 

89.  Relief. 

Herakles,  bearing  away  the  Kerkopes  enchained. 

About  B.  C.  625. 

Brown  Tufa. 

Metope  of  Temple  at  Selinous,  in  Sicily. 

Museum  of  Palermo. 

90.  Head,  broken  at  the  neck  from  its  Statue. 
Athene  Pronaia? 

A  local    Imitator  of  the  early  Attic  sculptures  of 

THE    AKROPOLIS. 

Beginning  of  the  Sixth  Century,  B.  C.  ? 

Grayish  white  Marble:     Maurice  Holleaux.    (Pentelic  Marble  : 

Kabbadia.) 
Found,  in  the  year*  1886,  near  the    ruins  of  the  Temple  to 

Apollo  Ptoos  at  Perdiko-brysis,  in  Bceotia. 
National  Museum,  Athens. 


ARCHAIC  GREEK  SECTION— HALL  7.  43  D 

91.  Architectural   Ornament. 

One  of  four  Griffins,  decorative  of  Roof-corners. 

The  ^Eginetan  Statuary,  Onatas? 

Early  part  of  the  Fifth  Century,  B.  C. 

Marble. 

Found  in  fragments  amidst  the  ruins  of  the  Temple  to  Athene, 

at  ^Egina. 
Glyptothek,  Munich. 

92.  Head  :  one  of  a  few  fragments  of  a  Statue. 
The  goddess  Athene. 

Executed  by  the  Sculptor  Onatas,  or  by  one  of  his 

pupils. 
First  half  of  the  Fifth  Century,  B.  C. 
Parian  Marble. 

Eastern  Pediment  of  the  Temple  to  Athene,  at  ^gina. 
Glyptothek,  Munich. 

93.  Architectural  Ornament. 
Lion's  Head. 

BOUPALOS,  SON  OF  ARCHERMOS  (?),  UNDER  THE  SUPERIN- 
TENDENCE OF  THE  ARCHITECTS  THEODOROS,  CHERSI- 
PHRON,    AND    METAGENES. 

Prior  to  B.  C.  546. 

Finely  grained  Asiatic  Marble. 

Cornice  of  the  Archaic  Artemision  at  Ephesos  :  found  during 

the  years  1 872-1 874,  beneath  the  foundations  of  the  later 

Temple. 
British  Museum,  London. 


OLYMPIAN   SECTION, 

Hall  7. 


I.     Statue. 

Subject:  Achilleus  ?  or  The  god  Ares. 

Artist:  Executed  by  a  Sculptor  of  the  Polykleitan 

School. 
Date  of  Execution :  About  the  end  of  the  Fifth  Century, 

B.  C. 
Material  of  Monument :  Parian  Marble. 
Station  in  Ancient  Times:  Unknown. 
Place  of  Exhibition  To-day  :  Museum  of  the  Louvre,  Paris: 

from  the  Borghese  Collection,  Pome. 

2.  Statue. 

Ephebos,  or  Adolescent  Youth. 

An  Attic  Sculptor  in  the  Epoch  of  Pheidias. 

Fifth  Century,  B.  C. 

Parian  Marble. 

Found,  in  the  year  1866,  on  the  Akropolis,  to  the  South-east 

of  the  Parthenon,  at  Athens. 
Museum  of  the  Akropolis,  Athens. 

3.  Statue. 

Victor,  crowning  himself. 

A  Sculptor  pervaded  with  the  style  of  Polykleitos. 

Fifth  Century,  B.  C. 

Replica  in  Marble,  from  a  lost  Original  in  Bronze. 

Collection  of  Count  Barrocco,  Rome. 

4.  Statue. 
Young  Victor. 

Polykleitos.       Fifth  Century,  B.  C. 

Copy  in  Marble,  from  the  Original  in  the  same  material. 

Royal  Collection  of  Sculpture,  Dresden. 

(44) 


OLYMPIAN  SECTION— HALL  7.  45 

5.  Statue. 

The  god  Apollo. 

Original  possibly  by  Kalamis. 
Fifth  Century  B.  C.  type. 

Replica  in  Parian  Marble,  from  an  Original  probably  in  Bronze. 
Acquired  in  Constantinople. 

British  Museum,  London :  from  the  Collection  of  the  Comte  de 
Choiseul-  Gouffier. 

6.  Statue. 

"Spinario,"  or  Boy  extracting  a  Thorn  from  his  Foot. 

Kalamis  ?  or,  a  Sculptor  of  the  Peloponnesian  School  ? 

Fifth  Century,  B.  C.  ? 

Bronze. 

Station   of  Discovery :    Unknown  :    one  of  the  earliest 

antiquities   which   served   to    form   the    Collection   of 

the  Capitol,  at  Rome.  • 
Palazzo  dei  Conservatori  {Hall  of  the  Wolf ),  Rome. 

7.  Statue. 

Victor  in   a    Foot-race    by   Maidens,    celebrated  in 
honor  of  the  goddess  Here  at  Olympia. 

Copy  executed  in  the  Roman  Era,  from  a  Statue  dating  from 

about  the  middle  of  the  Fifth  Century,  B.  C. 
Marble,  from  Bronze. 

Stadium  of  Domitian,  on  the  Palatine  Hill,  in  Rome. 
Museum  of  the   Vatican   (Galleria   dei  Candelabri),  Rome. 

8.  Statue. 

Maid,  mourning:  a  Sepulchral  Monument. 

An  Attic  Sculptor. 

Fourth  Century,  B.  C. 

Pentelic  Marble. 

Found  in  the  neighborhood  of  the  village  Menidi,  in  AttikA. 

Museum  of  Berlin. 

9.  Statue. 

"  Penelope  " :  a  Sepulchral  Monument  ? 
Kalamis  ?  -  First  half  of  the  Fifth  Century,  B.  C. 

Marble. 

Museum  of  the  Vatican  {Galleria  delle  Statue),  Rome, 


46  MARQUAND  COLLECTION. 

10.  Statue. 

Marsyas,  the  Satyr,  starting  back  in  surprise  on 
catching  sight  of  the  Flute  which  Athene  had 
cast  away. 

Myron.     About  B.  C.  460. 

Marble. 

Found  on  the  Esquiline  Hill,  at  Rome,  in  the  year  1823. 

Museum  of  the  Later  an,  Rome. 

11.  Torso  :  probably  from  a  Group  of  Marsyas, 

the  god  Apollo,  and  the  Knife-whetter. 
Marsyas,  the  Satyr,  hanging  from  a  Tree. 

Copy  of  a  work  referable  to  the  Era  (A  the  Diadochoi. 

Parian  Marble. 

Found,  in  the  year  1845,  on  the  southern  side  of  the  Palatine 

Hill,  immediately  above  the  Circus  Maximus,  at  Rome. 
Museum  of  Berlin. 

12.  Statue. 

Diskobolos,  in  the  Act  of  hurling  the  Diskos. 

Myron,  of  Athens. 

Copy  dating  from  the  Roman  Era,  from  an  Original  executed 

about  B.  C.  455. 
Pentelic  Marble,  from  Bronze. 
Found,  in  the  year  1791,  among  the  ruins  of  the  Pinakotheka 

at  Hadrian's  Villa,  near  Tivoli,  Italy. 
British  Museum,  London :  from  the  Townley  Collection. 

13.  Statue. 

Athlete,  dropping  oil  into  his  Hand. 
An  early  Attic  Sculptor. 
Middle  of  the  Fifth  Century,  B.  C. 
Replica  in  Pentelic  Marble,  of  a  lost  Original. 
Glyptothek,  Munich  :  formerly  in  Rome. 

14.  Relief. 

Akroterion,  from  the  Tomb  of  a  Maiden. 

An  Attic  Sculptor.     Late  in  the  Fifth  Century,  B.  C. 

Pentelic  Marble. 

Found,  in  the  year  1856,  in  Trach5nes,  in  Attika. 

National  Museum,  Athens. 


OLYMPIAN  SECTION— HALL  7.  47 

15.  Statue. 

Athlete,  dropping  oil  into  his  Hand. 
A  Sculptor  of  the  early  Attic  School.    About  B.  C.  450. 
Marble. 

Royal  Collection  of  Sculpture,  Dresden  :  formerly  in  the  Chigi 
Collection,  Rome. 

16.  Statue. 
Diskobolos,  at  rest. 

An  Attic  Sculptor. 

Toward  the  close  of  the  Fifth  Century,  B.  C. 

Copy  in  Marble  of  the  Roman  Era,  from  the  Original  probably 
in  Bronze. 

Found,  in  the  year  1792,  by  the  Scottish  Painter  Gavin  Hamil- 
ton AMONGST  RUINS  IN    THE  TENUTA  DEL  COLOMBARO   ON  THE 

Via  Appia,  near  Rome. 
Museum  of  the  Vatican  (Salla  delta  Biga),  Rome. 

17.  Statue. 

The  god  Apollo. 

Hegias?     Original  executed  about  B.  C.  480. 

A  Copy  in  Grecian  Marble  of  the  Graeco-Roman  Era,  from  the 

lost  Monument  in  Bronze. 
Museum  of  the  Academy,  Mantua,  Italy.  • 

18.  Statue. 

Deity  Apollo,  Mantuan  Type. 

Hegias  ?     Original  dating  from  about  B.  C  480. 

A  Copy  in    Marble  of  the  Graeco-Roman   Era,  from  the  lost 

Work  in  Bronze. 
Museum  of  the  Louvre:  from  the  Palais  Mazarin,  Paris. 

19.  Statue. 

Goddess  Aphrodite:  "Venus  Genetrix." 

An  Attic  Sculptor — Alkamenes? 

Toward  the  end  of  the  Fifth  Century,  B.  C. 

Copy  in   Parian   Marble  dating  from  the   Roman   Era,  of  the 

lost  Original  —  "Aphrodite    of    the   Gardens"  (?)  which 

stood  outside  the  city  of  Athens. 
Found,  about  the  year  1650,  at  Frejus,  in  France. 
Museum  of  the  Louvre,  Paris. 


48  marquand  collection. 

20.  Statue. 

The  Lemnian  Athene. 

Pheidias.     Middle  of  the  Fifth  Century,  B.  C. 

A  composite  Replica  in  Marble,  of  the  lost  Original  in  Bronze. 

The  Head— Museo  Civico,  Bologna. 

The  Statues— Royal  Collection  of  Sculpture,  Dresden. 

21.  Relief,  with  Inscription  in  Greek. 
Sepulchral  Stela  of  Telesias. 

Latter  part  of  the  Fifth  Century,  B.  C. 

Pentelic  Marble. 

Found  at  Peiraieus,   and  retained  in  the  Collection  there 

until  the  year  1 888,  when  it  was  removed  to  athens. 
National  Museum,  Athens. 

22  tb  44.     Reliefs. 

Contest  between   Centaurs   and   Lapiths:  in   eleven 
Slabs,  viz. ; 

Western  Wall  of  the  Cella. 

22.  On  the  left,  a  Centaur  carries  off  a  Lapith  woman. 

On  the  right  a  male  Lapith  unarmed  is  struggling  with  a 
Centaur  (for  the  most  part  unseen). 

23.  A  Centaur  treads  down  an  armed  Lapith  warrior. 
A  female  Lapith  hastens  to  the  rescue. 

24.  A   Centaur  draws   a  resisting  Lapith  woman,   bearing    a 

child  on  her  left  arm,  to  himself. 
The  features  of  this  female  Lapith  bear  a  close  resemblance 
to  the  Amazon  of  Polykleitos  (compare  No.  73  below,  and 
the  Statue  on  the  opposite  side  of  this  Room),  and  her  drapery 
as  it  hangs  from  the  shoulder,  repeats  the  treatment  of  the 
same  robe  in  several  statues  of  Amazons.  On  the  right,  a 
Centaur  wearing  a  lion's  skin  and  bearing  a  shield,  is  tram- 
pling down  a  Lapith  man,  protected  by  a  cuirass,  stretching 
out  his  arms  in  opposition. 

25.  Apollo  and  Artemis,  transported  in  a  chariot  drawn  by  two 

stags,  arrive  in  aid  of  the  Lapiths. 
Apollo  has  alighted,  and  is  drawing  his  bow  (probably  added 
in  bronze),  and  Artemis,  as  she  steps  down,  is  reining  in  her 
stags  to  a  full  stop. 


OLYMPIAN  SECTION— HALL  7.  49 

26.  Two    Lapith   women    have   taken  refuge    at    a  Shrine   of 

Artemis,  and  at  the  feet  of  her  Statue. 
One  extends  both  arms  in  appeal  for  help,  the  other  clasps  the 
statue  by  her  right  arm,  and  by  her  left  hand  clings  to  her 
mantle,  which  a  Centaur  is  tearing  away  from  her — an  act 
arrested  by  a  male  Lapith  kneeling  upon  the  back  of  the 
Centaur,  and  strangling  him  by  his  left  arm.  The  composi- 
tion of  this  last  group  resembles  that  of  a  Parthenon  metope. 

27.  Pursuit  of  an  armed  Lapith  warrior  by  a  Centaur. 

The  latter  is  followed  by  a  Lapith  woman,  holding  a  boy  in 
her  right  hand  and  arm. 

28.  Close   engagement. 

On  the  left,  an  alert,  unarmed  Lapith  seizes  a  Centaur  by 
his  left  foreleg,  and  with  his  right  hand  wards  off  a  thrust  of 
a  sword  by  his  enemy.  On  the  right,  another  Lapith  warrior 
has  overcome  a  Centaur  whom  he  forces  down  upon  his  knees 
to  the  ground. 

29.  Death-struggle. 

A  Centaur  repels  a  Lapith  on  the  left,  by  kicking  out  against 
a  shield  held  up  as  a  defence,  and  bites  in  the  neck  another  on 
the  right,  who  is  plunging  a  sword  into  his  breast.  Below,  a 
second  Centaur  lies  fallen  and  dead  upon  the  earth.  Both 
Centaurs  wear  lions'  skins. 

30.  A  Lapith  man  drags  away  by  the  hair  a  Centaur  obliged  to 

succumb,  yet  thrusting  his  right  arm  backward  to  protect 

himself  from  the  blow  of  another  antagonist. 

The  latter,  an  armed  Warrior,  has  his  right  arm  raised  to 

deal  a  blow  with  a  dagger,  but  is  checked  by  another  Centaur 

coming  up  from  behind,  who  also  tries  to  gain  possession  of 

the  shield. 

Northern  Wall  of  the  Cella. 

31.  On  the  left,  a  Lapith  and  a  Centaur  wrestling  together. 
The  former  choking  the  latter  by  his  left  arm :  the  latter 

trying  to  throw  the  former  by  seizing  his  left  leg  with  both  right 
hand  and  forefoot.  On  the  right,  a  Lapith  is  about  to  strike 
down,  from  behind,  a  Centaur  apparently  exhausted  from  the 
fight,  and  ready  to  yield. 

32.  The  principal  Group  in  this  portion  of  the  Frieze. 

The  Invulnerable  Kaineus,  son  of  Elatos,  king  of  the  Lapiths, 
half-buried,  still  holds  his  shield  over  his  head,  while  he  deals 
a  blow  with  his  sword  (of  bronze)  by  his  left  hand.  Two 
Centaurs  lift  a  mighty  rock  to  crush  him  down,  one  of  whom 
is  being  dragged  away  by  a  Lapith  armed  with  shield  and 


50  MARQUAND  COLLECTION. 

covered,  as  to  his  head,  with  a  helmet.  On  the  right,  a 
divinity  (?)  holding  her  mantle  aloft  by  her  right  arm,  leads 
the  group  away. 

Contest  between    Greeks  and   Amazons:   in  twelve 
Slabs,  viz. : 

33.  A  conflict,  and  a  misfortune. 

On  the  left,  a  Greek  warrior  provided  with  helmet  and  boots, 
and  an  Amazon,  rush  to  combat.  Their  attitudes  recall  those  of 
Harmodios  and  Aristogeiton  in  the  Group  of  the  Tyrannicides. 
(Compare  No.  53,  on  the  Western  side  of  this  Room.)  On 
the  right,  an  Amazon,  wounded,  is  fainting  and  sinking  to 
the  earth,  supported,  however,  by  another  whose  chiton 
opens  at  the  side,  after  the  manner  of  the  one  worn  by  Iris  in 
the  sculptures  of  the  Eastern  Pediment  of  the  Parthenon. 
(Compare  No.  74  in  the  Parthenon  Section.) 

Eastern  Wall  of  the  Cella. 

34.  Resistance. 

On  the  left,  an  Amazon,  whose  shield  is  placed  in  the  back- 
ground, resists  a  Greek  by  dropping  to  the  ground  and  push- 
ing against  him  by  both  her  hands  as  he  attempts  to  drag 
her  along.  On  the  right,  another,  slightly  wounded,  is  sheltered 
by  the  shield  of  a  third,  held  over  her. 

35.  Three  actions. 

On  the  left,  a  Greek  warrior  is  about  to  strike  a  heavy  blow 
against  the  Amazon  defending,  just  mentioned.  In  the  middle, 
a  lively  combat  is  going  on  between  an  Amazon  and  a  Greek, 
both  of  whom  seem  to  be  dealing  spear-thrusts.  On  the  right, 
an  Amazon  who  has  received  her  death-blow,  with  all  her  limbs 
relaxed,  is  falling  where  she  fought. 

36.  Reprisal. 

An  Amazon,  mounted  upon  a  horse,  is  being  dragged  off  by 

*■        a  Greek,  who  probably  held  a  sword  in  his  left  hand,  ready  to 

dispatch  her.     A  succoring  Amazon  hastens  from  the  right,  to 

save  her  companion  by  a  similar  stroke  from  a  like  weapon 

held  in  her  upraised  right  hand. 

37.  A  sacrilege. 

On  the  left,  an  Amazon  who  had  taken  refuge  at  the  altar  of 
a  divinity  contests  the  efforts  of  a  Greek  to  tear  her  away. 
On  the  right,  an  Amazon  and  a  Greek  endeavor  to  shield 
themselves  with  bucklers  while  engaging  in  contest  of  swords. 
In  this  scene,  as  indeed  in  the  two  last,  the  action  of  the 
Amazon  is  impeded  by  her  chiton. 


OLYMPIAN  SECTION— HALL  7.  51 

38.  Unequal  struggles. 

On  the  one  side,  a  Greek  has  the  upper  hand  of  an  Amazon, 
whom  he  is  pulling  over  by  her  head.  On  the  other  side,  an 
Amazon  has  the  advantage  over  a  Greek,  who,  thrown  upon  his 
knees,  vainly  tries  to  screen  himself  from  the  vigorous  blows  of 
his  antagonist  and  to  return  a  stroke  of  his  own. 

39.  Two  Greeks  encounter  two  Amazons. 

One  of  the  latter,  vanquished  by  her  athletic  adversary,  who 
is  proceeding  to  tread  upon  her  in  order  to  finish  her  with  the 
sword  in  his  right  hand— regardless  of  her  plea  for  pity  and 
life— is  rescued  by  the  timely  intervention  of  a  colleague,  a 
stalwart  combatant,  striding  in  from  the  right. 

40.  Two  groups,  with  divided  victory. 

A  bearded  Greek,  fully  covered  by  helmet,  cuirass,  and 
shield,  has  overpowered  a  defenceless  Amazon,  who,  however, 
still  succeeds  in  holding  him  at  arm's  length.  Another  Greek, 
similarly  protected,  has  been  obliged  to  give  way  under  the 
superior  force  of  a  second  unarmed  Amazon's  powerful  blows. 

41.  A  Greek  defeat. 

On  the  left,  a  survivor  is  carrying  off  a  dead  warrior,  killed 
by  the  Amazon,  who  has  stripped  him  of  his  arms,  and  is 
drawing  away  his  shield.  On  the  right,  another  Greek,  se- 
verely wounded  in  the  right  leg,  is  leaning  on  a  spear  (?  of 
bronze)  held  in  his  right  hand,  as  he  limps  away  and  is  helped 
off  the  field  by  a  friend  carrying  for  him  his  buckler. 

Southern  Wall  of  the  Cella. 

42.  Tardy  help,  and  a  strife  for  life. 

A  mortally  wounded  and  perhaps  dying  Greek  is  supported 
by  the  right  arm  of  another  contestant,  who  bears  his  shield 
on  the  left  arm  and  his  sword  in  his  hand,  while  he  watches 
the  result  of  a  fight  going  on  near  by.  This  is  a  lively  contest 
between  an  armed  Greek  who  presses  forward  to  attack,  and 
a  brave  Amazon  drawing  back  and  collecting  her  strength  for 
a  deadly  stroke. 

43.  The  principal  Group  in  this  portion  of  the  Frieze. 
Herakles,  or  Perseus,  in  desperate  conflict  with  an  un- 
daunted Amazon.  For  defence,  Herakles  seems  to  sport  no 
more  than  a  lion's  skin,  and  the  Amazon  wields  a  shield:  for 
offence,  Herakles  appears  to  depend  on  a  club  which  he  raises 
to  strike  down  his  fair  antagonist,  and  the  Amazon  on  a  spear 
which  she  is  about  to  thrust  against  her  foe,  no  less 
handsome  than  all-powerful  in  physique.  These  figures  pre- 
sent a  pose  similar  to  that  of  Athene  and  Poseidon,  in  the 


52  MARQUAND  COLLECTION. 

Western  Pediment  of  the  Parthenon  (compare  Nos.  132  and 
133  in  the  Parthenon  Section),  to  which  the  horses,  introduced 
on  either  hand,  lend  additional  parallelism.  On  the  left,  a 
wounded  Amazon  draws  her  right  arm  backward  to  spear  a 
worsted  and  resistless  Greek — a  group  recalling  that  of 
"Dexileos"  in  the  Willard  Collection  of  Architectural  Casts, 
or  that  of  the  "Victor  dispatching  a  fallen  Foe"  in  the 
Hellenic  Section,  No.  1.  On  the  right,  a  triumphant  Greek 
is  throwing  a  fainting  Amazon  off  her  horse,  which,  somehow 
disabled,  is  sinking  upon  its  knees  and  head. 
44.  The  one  and  only  instance  of  Mercy  toward  an  Enemy,  in 
the  entire  Series. 
A  defeated  Greek,  helpless  save  to  lift  his  right  arm  to 
break  the  force  of  a  death-blow,  has  dropped  at  the  feet  of 
his  adversary,  who  lifts  her  right  arm  to  inflict  the  last  plunge 
of  her  dagger — to  the  arrest  of  which  a  generous  and  soft- 
hearted Amazon,  her  shield  slung  over  her  shoulder,  rushes  in 
from  the  left  with  arms  extended  in  leniency  and  shelter.  On 
the  right,  an  unharmed  Amazon,  her  sword  and  scabbard 
thrown  over  her  shoulder,  attempts  to  support  a  failing  com. 
rade  with  drooping  head  and  limbs  relaxed. 

Executed  by  Iktinos.     About  B.  C.  430. 

Doliana  Marble. 

Interior  Frieze  of  the  Cella  in  the  Temple  of  Apollo  Epi- 

KOURIOS,  NEAR  PHIGALEIA,  IN  ArKADIA. 

British  Museum,  London. 

45.  Head  :   intended   to   be   placed  upon  a  co- 

lossal Statue. 
The  goddess  Here? 
A  Grecian  Sculptor. 

Era  of  the  Roman  Empire,  in  imitation  of  an  Attic  type. 
Grecian  Marble. 
Boncompagni-Ludovisi  Collection,  Rome. 

46.  Head. 

Goddess  Here?  or  Artemis? 

An  early  Attic  Sculptor. 
Latter  part  of  the  Fifth  Century,  B.  C. 
Grecian  Marble. 

National   Museum,   Naples :   from   the  Farnese    Collection, 
Rome. 


OLYMPIAN  SECTION— HALL  7.  53 

47.  HEAD. 
Goddess  Here. 

A  Sculptor  belonging  to  the  School  of  Polykleitos. 

End  of  the  Fifth  Century,  B.  C.  ? 

Grecian  Marble. 

Found  at  Girgenti  (Akragas),  in  Sicily. 

British  Museum,  London. 

48.  Head. 
Goddess  Here. 

Alkamenes?     About  the  close  of  the  Fifth  Century,  B.  C. 

Grecian  Marble. 

Found  in  the  ruins  of  the  Baths  of  Olympias,  on  the  Viminal 

Hill,  at  Rome,  by  a  Cardinal  of  the  Barberini  Family. 
Museum  of  the  Vatican  {Rotunda),  Rome. 

49.  Bust  :    originally    placed  upon  a  colossal 

Statue. 
Goddess  Here,  wearing  sphendone  and  veil. 

Grecian  Marble. 
Boncompagni-Ludovisi  Collection,  Rome. 

50.  Head  :  shaped  below  the  neck  for  insertion 

in  a  Statue  of  wood. 
Goddess  Here,  or  Aphrodite? 
A  Grecian  Master  in  archaic  Art. 
Early  part  of  the  Fifth  Century,  B.  C. 
Marble. 
Unknown. 
Boncompagni-Ludovisi  Collection,  Rome. 

51.  Relief. 

Orpheus  losing  Eurydike  :  Hermes  reclaiming  her. 

A  Sculptor  of  the  early  Attic  School. 

Latter  half  of  the  Fifth  Century,  B.  C. 

Replica  in  Pentelic  Marble,  executed  during  the  Roman  Era. 

Villa  Albani,  Rome. 


54  MARQUAND  COLLECTION. 

52.      Relief. 

Medea  persuading  Asteropeia  and  Antinoe  to  slay 
their  father,  Pelias. 

A  Sculptor  of  the  early  Attic  School. 

Latter  part  of  the  Fifth  Century,  B.  C. 

Pentelic  Marble. 

Found,  in  the  year  18 14,  beneath  the  pavement  in  the  Court 

of  the  French  Academy  at  Rome. 
Lateran  Museum,  Rome. 


53.      Group. 

Aristogeiton  and  Harmodios :  Tyrannicides. 

Kritios  and  Nesiotes.     B.  C.  477-476. 
Grecian  Marble. 

Museum  of  Naples  :  formerly  in  the  possession  of  the  Farnese 
Family. 


54.      Head,  with  modern  Inscription  in  Greek. 
Portrait:  "  Phe.rekydes,"  so-called. 

Era  of  the  Tyrannicides,  or  early  part  of  the  Fifth  Century, 

B.C. 
A  Replica  in  Grecian  Marble,  from  an  Original  in  Bronze. 
Found,  in  the  year  1779,  by  a  Spanish  gentleman  at  Tivoli. 
Museum  of  Madrid. 


55.      Low-relief. 

Sepulchral  Stela  of  a  Man  leaning  on  a  Staff. 

Bate:  About  B.  C.  475. 
Grecian  Marble. 

Probably  one  of  the  Islands  in  the  ^gean  Sea  ;  but  conjec- 
tured TO  HAVE  BEEN  FOUND  AT   NOLA,    IN   SOUTHERN  ITALY. 

National  Museum,  Naples :  from  the  Borgia  Collection. 


OLYMPIAN  SECTION— HALL  7.  55 

56.  Low-relief. 

Memorial    Stela    of    a     Maiden,    whose    ashes    lay 

beneath. 
A  Master  of  archaic  Art  in  Northern  Greece. 
Fifth  Century,  B.  C. 
Island  (?)  Marble. 
Found  on  the  Esquiline  Hill,  in  the  old  Villa  Palombara  and 

area  of  the  ancient  imperial  gardens,  at  rome. 
Palazzo  dei  Conservatori  [Octagonal  Hall),  Rome. 

57.  Low-relief,  with  Inscription  in  Greek. 
"  Hegeso,  daughter  of  Proxenos." 

An  early  Attic  Sculptor. 

Close  of  the  Fifth  Century,  B.  C. 

Pentelic  Marble. 

Outside  the  Dipylon  Gate,  at  Athens. 

Found,  in  the  year  1870,  and  still  in  situ,  Hagia  Triada. 

58.  Low-relief. 

Goddess  Demeter  commissioning  Triptolemos, 
crowned  by  her  daughter  Kore,  to  bestow  the 
Blessings  of  Agriculture  on  Mankind. 

An  early  Attic  Sculptor.     About  B.  C.  460. 

Pentelic  Marble. 

FO.UND,    IN  THE  YEAR   1859,    AT   ELEUSIS. 

National  Museum,  Athens. 

59.  Low-relief,  with  Inscription  in  Greek. 
"  Philis,  daughter  of  Kleomedes." 

An  early  Northern  Sculptor. 

About  B.  C.^450  to  435. 

Parian  Marble. 

Found,  in  the  year    1864,  on  the  Island  of  Thasos,   in  the 

Northern  ^Egean  Sea. 
Museum  of  the  Louvre,  Paris. 

60.  Low-relief. 
Sepulchral  Stela  of  a  Maiden. 
Fifth  Century,  B.  C. 

Grecian  Marble. 

One  of  the  Islands  in  the  ^Egean  Sea. 

Collection  in  the  Giustiniani  alle  Zecchere  Palace,  Venice. 


56  MARQUAND  COLLECTION. 

61.     Low-relief. 

Portrait-monument  to  a  young  Man,  unnamed,, 

Fifth  Century,  B.  C. 

Pentelic  Marble. 

Found  on  the  Island  of  Salamis  by  James  Dawkins,  esq.,  prior 

to  the  year  1829. 
National  Museum,,  Athens. 


62.     Low-relief. 

Memorial-portrait  of  a  young  Thessalian. 

Early  part  of  the  Fifth  Century,  B.  C. 

White  Marble. 

Court  of  the  Gymnasium  at  Larissa,  in  Thessalia. 

National  Museum^  Athens. 


63.  Low-relief,  with  later  Inscription  in  Greek, 
Sepulchral  Representation  of  an  Athlete. 

About  the  middle  of  the  Fifth  Century,  B.  C. 
Yellowish  white  Limestone. 

Found,  in  the  year  1884,  at  Thespi^e,  in  Bceotia. 
National  Museum,  Athens.  - 

64.  Low-relief. 
Portrait-memorial  of  a  bearded  Man. 

A  Sculptor  of  the  Attic  School.     Fifth  Century,  B.  C. 

Parian  Marble. 

Found  at  Karystos,  in  Euboea. 

Museum  of  Berlin. 

65.  Low-relief,  with  Inscription  in  Greek. 
Mynno. 

An  early  Attic  Sculptor. 

Latter  part  of  the  Fifth  Century,  B.  C. 

Pentelic  Marble. 

Found  between  Athens  and  the  Peiraieus. 

Museum  of  Berlin. 


OLYMPIAN  SECTION— HALL  7.  57 

66.  Upper  portion  of  Statue. 

Diomedes,  carrying  off  the  Palladium  from  Troy. 

Kresilas?     Fifth  Century,  B.  C. 

Reproduction    in    Grecian    Marble,    from    a    lost    Original   in 

Bronze. 
Argos,  the  seat  of  the  cultus  of  Diomedes. 
Glyptothek,  Munich  :  from  the  Villa  Albania  Rome. 

67.  Upper  portion  of  Statue. 
Dionysos,  god  of  wine  and  vineyards. 

Parian  Marble. 

Found,   in  the  year  1888,  amid  the  ruins  of  the  theatre  at 

slkyon,  excavated  by  the  american  school  of  classical 

Studies,  at  Athens. 
National  Museum,  Athens. 

68.  Statue. 

Doryphoros,  or  Athlete-victor  in  the  Olympic  Con- 
tests, bearing  a  Spear. 

Polykleitos.     Between  B.  C.  450  and  440. 

Copy  in  Marble,  from  the  lost  Original  in  Bronze. 

Statue  first  set  up  at  Argos:  Copy  found  in  the  Palestra  at 
Pompeii,  Italy! 

National  Museum,  Naples. 

69.  Statue. 

Diadoumenos,  or  Athlete-victor  in  the  Olympic 
Games  binding  his  Head  with  the  broad  Fillet. 

Polykleitos.     B.  C.  420. 

Copy  in  Italian  Marble,  from  the  lost  Original  in  Bronze. 

Found,  in  the  year  1862,  amid  the  ruins  of  a  Roman  Theatre 
at  Vaison,  in  France. 

British  Museum,  London. 

70.  Statue. 
Diadoumenos. 
Polykleitos.     B.  C.  420. 

Copy  in  Pentelic  Marble,  from  the  lost  Original  in  Bronze. 
British  Museum,  London :  from    the   Farnese    Gardens   and 
Palace  j  and  earlier  the  Villa  Madama,  Borne. 


58  marquand  collection. 

71.  Statue/ 

Amazon,  preparing  to  leap  upon  her  Steed  ? 
Pheidias  ?     Middle  of  the  Fifth  Century,  B.  C. 
Reproduction  in  Parian  Marble,  from  a  lost  Original  probably 

in  Bronze. 
Temple  of  Artemis,  at  Ephesos, 
Museum  of  the  Vatican  (Galleria  delle  Statue),  Rome :  from 

the  Villa  Mattel. 

72.  Statue. 

Amazon,  about  to  mount  her  Horse  ? 
Pheidias  ?     Middle  of  the  Fifth  Century,  B.  C. 
Copy  in  Grecian  Marble,  from  the  lost  Original  in  Bronze. 
Temple  of  Artemis,  at  Ephesos. 

Museum  of  the  Capitol  {Hall  of  the  Dying  Galatian),  Rome  : 
from  the  Villa  d'  Este,  Tivoli. 

73.  Statue. 
Amazon,  wounded. 

Polykleitos.     Middle  of  the  Fifth  Century,  B.  C. 
Copy  in  Pentelic  Marble,  from  a  lost  Original  in  Bronze. 
Temple  of  Artemis,  at  Ephesos. 

Museum  of  Berlin  :  found,  in  the  year  1868,  in  the   Vicolo  di 
S.  Niccola  di  Tolentino,  Rome. 


74.     Archaic  Greek  Inscription,   reading  in 

boustrophedon. 
Laws  of  Gortyn,  relating  to  Inheritance,  Adoption, 

Heiresses,  Marriage,  Divorce,  Slavery,  Tenure  of 

Land  and  Personal  Property,  the  Organization  of 

Courts,  etc. 
Dating  from  about  B.  C.  415. 
Inner  wall  of  a  Theatre  at  Hagios  Deka,  site  of  the  ancient 

Gortyna,   in    the    Island  of   Krete  :    discovered  in   the 

YEAR  1884. 

Two  fragments  are  preserved  in  the  Louvre,  Paris. 


OLYMPIAN  SECTION— HALL  7.  59 

75.     Relief. 

Herakles,  cleansing  the  Augean  Stables. 

About  B.  C.  460. 

Marble. 

Metope,  from  the  Frieze  of  Cella  at  the  Eastern  End  or  Front 

of  the  Temple  of  Zeus,  at  Olympia. 
Museum  of  Olympia. 


76.     Relief. 

Herakles,  Atlas,  and  Hesperid ;  or,  Herakles  receiv- 
ing the  Apples  of  the  Hesperides. 

About  B.  C.  460. 

Marble. 

Metope,  from  the  Frieze  of  Cella  at  the  Eastern  End  or  Front 
of  the  Temple  of  Zeus,  at  Olympia. 

Museum  of  Olympia. 


77.  Relief. 

Herakles,  subduing  the  Kretan  Bull. 

About  B.  C  460. 

Marble. 

Metope,  from  the  Frieze  of  Cella  at  the  Western  End  of  the 

Temple  of  Zeus,  at  Olympia. 
Upper  half  :  Museum  of  the  Louvre,  Paris. 
Lower  half  :  Museum  of  Olympia. 
\ 

78.  Relief. 

Herakles,   presenting  the  Stymphalian  Birds  to  the 

goddess  Athene. 
About  B.  C.  460. 
Marble. 
Metope,  from  the  Frieze  of  Cella  at  Western  End  of  the 

Temple  of  Zeus,  at  Olympia. 
Herakles  :  Museum  of  Olympia. 
Athene  :  Museum  of  the  Louvre,  Paris, 


60  MARQUAND  COLLECTION. 

79  to  93.     Statues  and  Groups,  colossal. 

Preparation  for  the  mythical  Chariot-race    between 
Pelops  and  King  Oinomaos. 

79.  River-god  Alpheios,  recumbent.  (On  the  extreme  left  hand.) 

80.  Youth,  or  Mountain-stream,  kneeling. 

81.  Killas,  or  Sphairos,  charioteer  of  Pelops,  kneeling  and  hold- 

the  reins  of  his  steeds. 

82.  Quadriga  of  Pelops. 

83.  Groom  (?)  seated,  and  pointing  to  the  great  toe  of  his  left 

foot. 

84.  Hippodameia,  daughter   of  Oinomaos  and   Sterope",  bride 

of  Pelops. 

85.  Pelops. 

86.  Zeus,  deity   to   whom  the  Temple  was  dedicated,   and  in 

whose  honor  the  Olympic  Games  were  celebrated. 

87.  Oinomaos,  king  of  Pisa  in  Elis. 

88.  Sterope,  wife  of  King  Oinomaos. 

89.  Myrtilos,  charioteer  of  Oinomaos.   seated  in  front   of  his 

horses, 
go.  Quadriga  of  King  Oinomaos. 
91.  A  Seer,  bald. 

g2.   Fountain-nymph  Arethousa  ?  kneeling. 
93.   River-god  Kladeos,  recumbent.  (On  the  extreme  right  hand.) 
Executed  by  Paionios,  of  Mende.     About  B.  C,  459. 
Parian  Marble. 

tympanum-sculptures  of  the  eastern  pediment  in  the  temple 
of  Zeus,   at  Olympia  :   found  by  the  excavations  of  the 
German  Expedition  during  the  years  1875-1881. 
Museum  of  Olympia. 


94  to  104.     Statues  and  Groups,  colossal. 

Contest  between  Centaurs  and  Lapiths  at  the  Nup- 
tials of  Peirithobs  and  Deidameia,  in  which  the 
former  were  routed  under  the  leadership  of 
Theseus. 

94.  Local    Nymph,    or    female    Lapith,  recumbent.     (At   the 

extreme  left  hand.) 

95.  Aged  maid-servant. 

Crouching  through  fright  and  resting  upon  knees  and  left 
forearm,  by  the  right  hand  tearing  out  her  hair. 


OLYMPIAN  SECTION— HALL  7.  61 

96.  Group  of  three  figures. 

ALapith,  nude,  supported  mainly  upon  his  left  knee,  strives, 
with  both  hands  clasped  round  the  head  of  a  Centaur,  to 
bring  him  down  to  the  ground.  The  Centaur  by  his  left  hand 
has  seized  a  Lapith-woman  by  the  head,  and  is  attempting  to 
throw  his  left  hind  leg  around  her  waist.  The  Lapith-woman, 
kneeling,  and  fully  draped,  repels  her  assailant  by  her  right 
arm,  and  by  her  left  hand  tries  to  loosen  his  grip  upon  her 
hair. 

97.  Group  of  two  figures. 

A  Centaur  wrestling  with  a  Youth— a  Cup-bearer  ? 

Group  of  three  figures. 

Deidameia,  standing,  resists  capture  by  Eurytion,  exerting 
herself  to  the  utmost  to  undo  the  grip  of  his  hands. 
The  Centaur,  intoxicated,  and  apparently  without  suspicion 
of  danger,  has  flung  his  right  arm  round  her  waist,  and  is 
pressing  his  left  hand  upon  her  breast:  rapidly  advancing 
from  the  right,  Peirithoos  is  on  the  point  of  cleaving  his  head 
with  a  powerful  stroke  of  a  sword. 
99.   Deity  Apollo. 

The  god  extends  his  arm  toward  the  struggling  Deida- 
meia as  if  to  protect  her  and  at  tho  same  time  to  drive  off 
the  Centaur  by  a  wave  of  the  hand. 

100.  Group  of  three  figures. 

Theseus  hastens  to  the  rescue  of  a  young  Lapith-woman, 
and  is  about  to  deal  the  aggressor  a  deadly  blow  with  an  axe 
uplifted  by  both  his  hands.  A  Centaur,  reaching  backward 
to  Theseus  by  his  right  arm,  grasping  the  female  Lapith  by 
his  left,  embraces  the  latter  by  his  forefeet.  The  young  lady 
resists  her  assailant,  repelling  him  by  both  hands,  the  one 
upon  his  turban,  the  other  upon  his  beard. 

101.  Group  of  two  figures. 

A  young  Lapith-man  seized  by  a  Centaur,  in  order, 
apparently,  to  carry  him  off,  defeats  his  purpose. 

102.  Group  of  three  figures. 

A  young  Lapith-woman,  kneeling,  tries  to  remove  the  hold  a 
Centaur  has,  by  his  right  hand,  upon  her  waist.  The  Centaur, 
upon  all  fours,  has  clutched  her  by  the  left  ankle  also,  in  an 
effort  to  bring  her  still  further  down.  In  this  attempt  he  is 
frustrated  by  a  Lapith-man,  hastening  to  her  relief,  who 
grapples  with  the  Centaur,  seizing  his  head  by  his  left  hand, 
and  sending  a  short  sword  through  his  right  chest. 


62  .  MARQUAND  COLLECTION. 

103.  Aged  maid-servant. 

Crouches  in  terror,  resting  both  her  forearms  upon  a  pillow. 

104.  Local  Nymph,  or  female  Lapith.  (On  the  extreme  right  hand.) 

Recumbent,  with  right    arm    upraised,   she    calmly,    yet 
intently,  watches  the  contest. 

Executed  by  Alkamenes,  of  Athens.     About  B.  C.  458. 

Parian  Marble.  > 

Tympanum-sculptures  of  the  Western  Pediment  in  the  Temple 
to  Zeus,  at  Olympia  :  found  by  the  excavations  of  the 
German  Expedition  during  the  years  1875-1881. 

Museum  of  Olympia. 


105.     Statue. 

Nike,  the  goddess  of  Victory,  descending  through  the 

air  with  outstretched  wings. 
Paionios,  of  Mende.     About  B.  C.  424. 
Parian  Marble. 
Upon  a  high  triangular  Pedestal,  standing  in  front  of  the 

Temple  of  Zeus,  at  Olympia. 
Museum  of  Olympia. 


106.      Greek  Inscription. 

Epigraphic  Record  declaring  both  Donors  and  Sculp- 
tor of  the  Nike. 

"  Messenians  and  Naupaktians  dedicated  [this  monument] 
to  the  Olympian  Zeus,  being  a  tithe  of  the  spoils  taken  from 
their  enemies. 

Paionios  of  Mende  executed  it;  who,  also,  was  victorious 
in  making  the  akroteria  upon  the  Temple." 
About  B.  C.  424. 
Marble. 

Midway  upon  the  front  of  the  triangular  Pedestal  sustaining 
the  Statue  of  Nike,  which  stood  in  front  of  the  Temple  to 
Zeus,  at  Olympia. 
Museum  of  Olympia. 


OLYMPIAN  SECTION-HALL  7.  62  A 

107.  Relief. 

The  Three  Graces — Peitho,  Aglaia,  and  Thaleia. 

An  Attic  Sculptor — Sokrates,  son  of  Sophroniskos? 

First  half  of  the  Fifth  Century,  B.  C. 

Reduced  Copy  in    Pentelic   Marble,  from  the  original   Work 

placed  on  the  wall  behind  the  Statue  of  Athene,  upon  the 

Akropolis  at  Athens. 
Found  in  the  year   1769,  near  the  Hospital  of  St.   John  in 

Lateran,  at  Rome. 
Museum  of  the  Vatican  (Braccio  Chiaramonti),  Rome. 

108.  High-relief. 

Herakles,  treading  upon  the   lifeless  Nemean  Lion. 

About  B.  C.  460. 

Marble. 

Metope,  from  the  Frieze  of  Cella  at  the  Western  End  of  the 

Temple  to  Zeus,  at  Olympia. 
The  Lion  :  Museum  of  the  Louvre,  Paris. 
The  remaining  fragments  :  Musewn  of  Olympia. 

109  to  115.      Architectural  Ornaments. 
Lion-masks,  as  Water-spouts. 

Divers  Sculptors. 

First  half  of  the  Fifth  Century,  B.  C,  originally  ;  but  repaired, 

or  replaced,  in  various  later  styles. 
Marble. 

Cyma  of  the  Temple  to  Zeus,  at  Olympia. 
Museum  of  Olympia. 

116.      Head:  a  relic  of  a  Statue. 

Portrait  of  a  Warrior,  bearded  and  helmeted,  doubt- 
less a  Victor  in  the  Hoplomachia,  and  quite  likely 
representing  Eperastos,  a  seer  of  the  Klytidai. 
An  early  Attic  Master. 

End  of  the  Sixth,  or  beginning  of  the  Fifth,  Century,  B.  C. 
Parian  Marble. 

Found,  in  the  year  1880,  in  the  course  of  excavations  at  Olympia. 
Museum  of  Olympia. 


62  b  MARQUAND  COLLECTION. 

117.  Head,  cut  from  an  honorary  and  commemo- 
rative Statue  and  saved  by  conceal- 
ment. 

Portrait  of  a  Victor  in  the  Pankration,  wearing  the 
kotinos-crown,  or  wreath  of    wild   olive  leaves. 

A  Master  in  Metal-working  earlier  than  the  Perga- 

mene  School. 
Third  Century,  B.  C. 
Bronze. 

In  the  Altis,  near  the  Temple  to  Zeus,  at  Olympia. 
Museum  of  Olympia. 


118.      Head  :  half  life-size. 

Zeus,  father  of  the  gods,  in  krobylos-coiffure. 

A  Sculptor  of  the  archaic  Zeus-type. 

Fifth  Century,  B.  C. 

Bronze. 

Found,  in  the  year  1877,  near  the  South-western  corner  of  the 

Temple  to  Zeus,  at  Olympia. 
Museum  of  Olympia. 


119.      Head,  originally  of  a  Statue. 

The  goddess  Here,  from  a  group  of  figures  repre- 
senting the  departure  of  Agamemnon  and  the 
Homeric  heroes  for  Troy. 

Polykleitos,  or  a   Sculptor   of   the   Argive  School 

under  his  direction. 
Last  half  of  the  Fifth  Century,  B.  C. 
Parian   Marble. 

Western  Pediment  of  the  Heraion  near  Argos. 
National  Museum,  Athens. 


OLYMPIAN  SECTION-HALL  7.  62  o 

120.  Architectural   Ornament,   sculptured   in 

RELIEF. 
Fragment  of  Cyma,  having  for  its  design  an  anthe- 
mion,    with   volutes,  each    of   the  smaller  ones 
sustaining  a  bird — the  Zeus-cuckoo  ? 

EUPOLEMOS,  THE  ARGIVE  ARCHITECT  ? 

Late  in  the  Fifth  Century,  B.  C. 
Fine  grained  Marble. 
Ruins  of  the  later  Heraion,  near  Argos. 
National  Museum,  Athens. 

121.  Head,  taken  from  a  Statue. 

Amazon,  wounded. 

PolyklEitos.     Middle  of  the  Fifth  Century,  B.  C. 
Replica  in  Greek  Marble  of  an  Original  in  Bronze. 
Brought  to  England  by  Lyde  Brown. 
British  Museum,  London. 

122.  Head. 

Diadoumenos. 

A  Master  of  the  Polykleitan  type. 

A  Replica,  of  the  Original  dating  from  the  second  half  of 

the  Fifth  Century,  B.  C. 
Marble. 

Formerly,  in  the  Chigi  Collection,  at  Rome. 
Royal  Collection  of  Sculpture ',  Dresden, 

123.  Head  :  the  bust  a  restoration. 

Victorious  Athlete. 

A  Sculptor   attributable   to   the   School  of  Poly- 

kleitos. 
Copy  of  a  Fifth  Century,  B.  C,  Original. 
Bronze. 

From  the  Collection  of  the  Villa  Albani,  at  Rome. 
Glyptothek,  Munich. 


62  D  MARQUAND  COLLECTION. 

124.  Head. 

Young  Pugilist  (pankratiastes). 

A  Master  who  must  have  flourished  in  the  Epoch  of 

Myron  and  Pythagoras  of  Rhegion. 
Early  in  the  Fifth  Century,  B.  C. 
Marble. 

Found  at  Perinth-on-the-Propontis. 
Royal  Collection  of  Sculpture,  Dresden. 

125.  Group,  in  high-relief. 

Gigantomachia  ;  a  Giant,  opponent  to  the  chief  of 
the  gods  Zeus,  forced  upon  his  knee  to  the 
ground,  helpless. 

A  Sculptor  of  the  early  Peloponnesian  School. 

Last  half  of  the  Sixth  Century,  B.  C. 

White  Elean  Limestone. 

Gable  to  the  Treasury  of  the  Megarians:  found,  in  the  year 
1878,  near  the  Southern  Wall  of  the  Altis,  at  Olympia. 

Museum  of  Olympia. 

126.  Greek  Inscription. 

"  [Thesauros]  of  the  Megarians." 

White  Elean   Limestone. 

Epistyle  above  the  Entrance  to  the  Treasury  of  the  Megari- 
ans, at  Olympia. 
Museum  of  Olympia. 

127.  Relief. 

Portrait  of  a  Young  Victor,  looking  downward  (upon 
his  dog?). 

A  Member  of  the  early  Peloponnesian  (?)  School. 

Fifth  Century,  B.  C. 

Parian    Marble. 

Found  upon  or  near  his  Tomb,  at  Megara. 

Museum  of  Berlin. 


OLYMPIAN  SECTION— HALL  7.  62  E 

128.     Low-relief. 

Hunt  of  the  Kalydonian  Wild-boar. 

A  Sculptor  in  the  Melian  Style. 

About  the  middle  of  the  Fifth  Century,  B.  C. 

Terra-cotta. 

Island  of  Melos,  in  the  ^Egean  Sea. 

Museum  of  Berlin. 


129.     Low-relief. 

Birth  of  Erichthonios. 

A  Master  in  the  Melian  Style  of  Sculpture. 

Early  in  the  Fifth  Century,  B.  C. 

Terra-cotta.  , 

Athens. 

Museum  of  Berlin. 


130.     Low-relief. 

Bellerophon  killing  the   Chimaira  with  the   help  of 

Pegasos. 
A  Master  in  the  Melian  Style. 
Early  part  of  the  Fifth  Century,  B.  C. 
Terra-cotta. 
Island  of  Melos. 
British  Museum,  London. 


131.      Low-relief. 

Perseus,  Medousa  beheaded,  and  Chrysaor  springing 
from  her  neck. 

A  Sculptor  in  the  Melian  Style. 
First  half  of  the  Fifth  Century,  B.  C. 
Terra-cotta. 
Island  of  Melos. 
British  Museum,  London. 


62  F  MARQUAND  COLLECTION. 

132.  Low-relief. 

Colloquy  between  the  lyric  poets  Alkaios  and  Sappho. 

A  Moulder  in  the  Melian  Style. 

Middle  of  the  Fifth  Century,  B.  C. 

Terra-cotta. 

Island  of  Melos.  s 

British  Museum,  London. 

133.  Fragment  of  seated  Figure  :  colossal. 
Hand  of  the  god  Dionysos  (?)  holding  Kantharos. 
Fifth  Century,  B.  C. 

Pentelic   Marble. 

Found,  in  the  year  1888,  at  Ikaria  in  Attika,  by  the  excava- 
tions of  the  American  School  at  Athens. 
Retained  still  near  the  place  of  discovery,  in  Stamata. 

134.  Relief. 
Erigone,  the  deified. 
Fifth  Century,  B.  C. 
Pentelic   Marble. 

Found,  in  the  year  1888,  at  Ikaria  of  Attika,  during  the 
course  of  excavations  by  the  american  school  of  classical 
Studies  at  Athens. 

Preserved  near  the  original  site,  in  Stamata. 

135.  Relief,  inscribed   in   Greek  :    an  ex-voto 

TABLET. 
The  god  Apollo,  the  goddess  Artemis,  and  a  'Wor- 
shiper. 

Apollo  is  seated  upon  the  omphalos,  before  an  altar,  raising  a 
lustration-branch  in  his  left  hand  and  holding  out  a  phiale  for  the 
libation  in  his  right. 
Fifth  Century,  B.  C. 
Pentelic   Marble. 

Found,  in  the  year  1888,  at  Ikar*a,  during  the  course  of  exca- 
vations CARRIED  ON  BY  THE    AMERICAN    SCHOOL  OF  CLASSICAL 

Studies  at  Athens. 
Kept  in  Stamata  still. 


OLYMPIAN  SECTION— HALL  7.  63  G 

136.  Relief. 

Priestess,  and  Worshipers. 

Fifth  Century,  B.  C. 

Pentelic   Marble. 

Found,  in  the  year  1888,  at  Ikariain  Attika,  during  excavations 

made  by  the  american  school   of   classical  studies  at 

Athens. 
Retained  in  Stamata. 

137.  Low-relief. 

Sepulchral  Stela  of  a  man,  bearded,  carrying  a  staff 

on  his  left  arm. 
Fifth  Century,  B.  C. 

Pentelic   Marble. 

Found,  in  the  year  1888,  at  Ikaria  of  Attika,  by  excavations  of 

the  American  School  of  Classical  Studies  at  Athens. 
Retained  in  Stamata. 

138.  Low-relief. 

Section  of  Vase,  decorated  with  guilloche-pattern  and 

lily-work. 
Fifth  Century,  B.  C 
Pentelic   Marble. 
Found,  in  the  year  1888,  at  Ikaria,  in  the  course  of  excavations 

undertaken  by  the  american  school  of  classical  studies 

at  Athens. 
Retained  in  Stamata. 

139.  Group  :  figures  of  the  twins  added  in  the 

Tenth  Century,  a.  d.     (Hall  8  :  Roman 
Section.) 
She-wolf   threatening    attack,    wrongly   restored  as 

nursing   Romulus  and  Remus — the   "  Mother  of 

the  Romans." 
An  Etruscan  Sculptor,  from  an  early  Grecian  Type. 
Fifth  Century,  B.  C. 
Without  history  prior  to  the  Tenth  Century,   a.  d.  :  then 

shown  by  records  to  have  stood  in  front  of  the  lateran 

Palace,  at  Rome. 
Bronze. 
Palazzo  dei  Conservatori  {Hall  of  the  Wolf),  Rome. 


CULLUM   COLLECTION. 


PARTHENON   SECTION, 

Hall  8. 


Low-relief,  with  Inscription  in  Greek. 
Subject:  "Amphotto" — a  Sepulchral  Stela. 
Artist:  Unknown. 

Date  of  Execution:  About  the  middle  of  the  Fifth  Cen- 
tury, B.  C. 
Material  of  Monument :  Boeotian  Stone. 
Station  in  Ancient  Times :  Found  in  Bozotia. 
Place  of  Exhibition  To-day :  National  Museum,  Athens. 

Statuette. 
The  goddess  Nike. 
About  B.  C.  400. 
Pentelic  Marble. 
Found,  in  the  year  1884,  in  the  Sanctuary  of  Asklepios,   in 

Epidauria. 
National  Museum,  Athens. 

Statuette. 
Amazon. 
About  B.  C.  400. 
Pentelic  Marble. 

Found,  in  the  year  1813,  on  the  Island  of  Salamis,  in  Attika. 
Museum  of  Dresden. 

Low-relief. 
Goddess  Athene  Parthenos,  crowning  a  Priestess  by 

means  of  a  Nike. 
An  Attic  Sculptor.     Fourth  Century,  B.  C. 
Pentelic  Marble. 

Acquired,  in  the  year  1846,  at  Athens. 
Museum  of  Berlin. 

(65) 


66  CULLUM  COLLECTION. 

5.  Low-relief,  with  Inscription  in  Greek. 
Goddess   Athene    Parthenos,    crowning    a    Man:    a 

Decree  in  honor  of  a  Kolophonian. 
Shortly  after  the  Peloponnesian  War.     B.  C.  400. 
White  Marble. 

Found  on  the  Akropolis,  at  Athens. 
Akropolis  P  ropy  lata,  Athens. 

6.  Low-relief. 

Goddess    Athene    Parthenos,   a    Worshiper,  and    a 

Shield-bearer. 
Latter  part  of  the  Fifth  Century,  B.  C. 
White  Marble. 

Found  on  the  Akropolis,  at  Athens. 
Akropolis  Museum,  Athens. 

7.  Low-relief. 

Shield  of  the  Statue  of  Athene  Parthenos. 

A  Copy  from  the  work  of  Pheidias. 

Last  half  of  the  Fifth  Century,  B.  C. 

Pentelic  Marble. 

Obtained  at  Athens,  by  the  Viscount  Strangford. 

British  Museum,  London. 

8.  Low-relief,  with  Inscription  in  Greek. 
Athene  Parthenos,  Nike,  and  a  tutelary  Deity. 
Era  of  Philipp. 

White  Marble. 

Found  behind  the  Southern  Wing  of  the  Propylaia  to  thi 

Akropolis,  at  Athens. 
Museum  of  the  Akropolis,  Athens. 

9.  Low-relief. 

Fragment  of  a  Monument  to  a  Cavalier. 

School  of  Pheidias. 

Latter  half  of  the  Fifth  Century,  B.  C. 

White  Marble  from  Boeotia. 

Brought  to  Venice  by  the  Doge  Morosini,  after  his  Expeditioi 

to  the  East  in  the  year  1687. 
Museum  of  the  Vatican  (Museo  Chiaramonti),  Rome. 


parthenon  section— hall  8.  67 

10.  Low-relief. 

Offering  to  the  goddess  Athene  Parthenos. 

Epoch  of  Pheidias  :  latter  half  of  the  Fifth  Century,  B.  C. 

White  Marble. 

Akropolis  Propylaia,  Athens. 

11.  Low-relief. 

Decree  of  Treaty  between  Athens  and  Kerkyra. 

B.  C.  375- 

Pentelic  Marble. 

Found  on  the  Southern  Declivity   of  the  Akropolis,  in  the 

year  1876. 
House  of  the  Invalids,  Akropolis,  Athens. 

12.  Low-relief. 

Goddess  Athene,  pensive,  leaning  on  her  lance  before 
the  Cippus  of  a  fallen  Hero. 

Latter  part  of  the  Fifth  Century,  B.  C. 

Found  to  the  South  of  the  Parthenon  on  the  Akropolis,  at 

Athens,  during  the  winter  of  1888-1889. 
Akropolis  Museum,  Athens. 

13.  Low-relief,  with  Inscription  in  Greek. 
Decree  of  Treaty  between  Athens  in  Attika  and  Kios 

in  Bithynia. 

B.C.  377- 

White  Marble. 

Found  near  the  Propylaia  of  the  Akropolis,  at  Athens. 

Akropolis  Pinakotheke,  Athens.  \ 

14  to  21.     High-reliefs. 

Contest    between    Centaurs     and     Lapiths,    at     the 
Marriage-feast  of  Peirithobs. 

14.     Advantage  with  the  Centaur. 

A  Centaur,  having  succeeded  in  throwing  his  left  arm 
around  the  neck  of  a  Lapith-contestant,  is  strangling  him,  at 
the  same  time  striking  him  in  the  back  with  a  branch  of  wood 
held  in  his  right  hand.  The  Lapith  is  unable  to  do  more  than 
thrust  his  knee  into  the  breast  of  the  Centaur,  beat  with  his 
right  fist,  and  with  his  left  hand  try  to  free  himself  from  the 
hold  of  his  enemy,  in  vain. 


on 


CULLUM  COLLECTION. 

15.  Advantage  with  the  Lapith. 
A  Lapith,  with  chlamys  thrown  out  of  the  way,  kneeling 

the  back  of  a  Centaur,  and  passing  his  left  arm  around  the 
neck  of  his  adversary,  clutches  him  by  the  throat.  The 
Centaur,  suffocating,  is  falling  upon  his  knees,  and,  crying 
from  pain,  fails  to  loosen  the  viselike  grasp  upon  his  trachea. 

16.  An  attack  from  the  rear. 

A  Lapith,  with  chlamys  suspended  from  his  shoulders  back- 
ward, and  shod  with  boots,  approaches  from  behind  a  Centaur 
resting  his  right  knee  upon  his  victim's  haunch,  and  reaching 
out  his  right  arm  to  catch  him  by  the  neck.  The  Centaur, 
whose  left  arm  is  protected  by  a  skin,  turns  his  human  form 
half-way  round  to  meet  and  repulse  his  antagonist. 

17.  A  victory  for  the  Centaur. 

Rearing  upon  his  hind  feet  he  strikes  down  his  falling 
opponent  with  his  forehoofs,  at  the  same  time  hurling  against 
him,  from  both  hands  raised  above  the  head,  a  large  water- jar 
{hydria). 

18.  Another    Centaur    rearing,  from    the    opposite    direction, 

against  his  assailant. 
The  figure  of  the  latter  is  now  wanting  to  the  metope,  but 
originally  it  was  a  Lapith  standing  upright  upon  the  ground> 
seizing  the  Centaur  by  the  hair,  in  resistance  to  an  effort  on 
the  part  of  the -Centaur  to  draw  him  by  the  right  thigh  between 
his  forelegs  and  thus  throw  him  to  the  earth. 

19.  An  undecided  battle. 

Too  little  remains  of  this  metope  for  either  a  definition  of 
the  action  or  an  award  of  victory.  The  right  arm  of  the 
Lapith  was  raised  and  drawn  back  for  the  delivery  of  a 
powerful  blow  with  a  weapon,  probably  a  sword,  from  which 
the  Centaur  draws  away  a  trifle  in  order  to  avoid  its  full  force 
or  escape  it  altogether. 

20.  A  Lapith's  superior  prowess. 

Advancing  irresistibly  against  his  enemy  he  seizes  him  by 
the  throat  with  his  left  hand,  and  is  about  to  deal  him  a  mortal 
stroke  with  his  right :  the  Centaur  attempting  to  rear  is, 
however,  forced  upon  his  haunches,  and  unsuccessfully 
endeavors  to  liberate  his  neck  from  the  grip  of  his  antagonist. 
The  flying  draperies  finely  express  the  rapidity  and  violence 
of  the  action;  and  the  extraordinary  spirit  of  the  figures, 
together  with  their  masterful  modeling,  places  this  metope 
in  point  of  excellence  above  all  others  in  the  series. 


PARTHENON  SECTION— HALL  8.  69 

21.     Victory  for  the  Centaur. 

By  his  left  knee  he  is  pressing  a  Lapith  down  to  his  destruc- 
tion. The  parts  now  missing  to  this  metope,  but  in  existence 
two  hundred  years  ago,  represented  the  Centaur  in  the  attitude 
of  bending  over  his  adversary  kneeling,  and  just  on  the  point 
of  dealing  him  a  crushing  blow  from  his  uplifted  right  arm  and 
fist:  the  Lapith,  in  the  attitude  of  looking  up  with  head  thrown 
backward,  helplessly  extended  his  left  arm  toward  the  human 
chest  of  his  merciless  assailant. 

Executed  under  direction  of  Pheidias.     B.  C.  454-438. 

Pentelic  Marble. 

Metopes  of  Entablature  upon  the  Southern  Side  of  the  Temple 
to  Athene,  on  the  Akropolis  at  Athens. 

The  Original  of  No.  14  remains  still  in  place  upon  the  Parthenon : 
the  Originals  of  the  seven  others  are  in  the  British 
Museum,  London. 

22  to  32.     Low-reliefs. 

Panathenaic  Procession,  at  Athens,  in  honor  of 
Athene  Polias. 

Southern  Half  of  the  Procession. 

22.  Two  Officers  facing  one  another. 

23.  A  group  of  gods — Eros  and  Aphrodite. 

24.  Group   of    Deities — Demeter  (or   Peitho?),  Dionysos,  and 

Poseidon. 

25.  Folding  of  the  Peplos:  two  Diphrophori. 

26.  Group  of  Deities — Zeus,  Hera,  and  Iris. 

27.  The  god  Ares,  and  the  goddess  Artemis. 

28.  The  god  Apollo,  and  the  messenger  of  the  gods  Hermes. 

29.  Four  Archons,  or  Athlothetae. 

Northern  Half  of  the  Procession. 

30.  Officer,  holding    sacred   dish,    faces    advancing     Maidens 

(Kanephori).     Another  officer  (a  Herald  ?). 

31.  Maidens  marching, 

32.  Maidens  carrying  Thymiaterion,  with  conical    cover,  used 

for  burning  Incense. 
Executed  under  direction  of  Pheidias.     B.  C.  454-438. 
Pentelic  Marble. 
Frieze  of  the  Cella  upon  the  Eastern  End  of  the  Temple  to 

Athene,  on  the  Akropolis  at  Athens. 
Parthenon,  Athens ;  Museum  of  the  Louvre,  Paris  j  British 

Museum,  London. 


70  CULLUM  COLLECTION. 

33.  Statuette. 

Goddess  Athene  Parthenos  :  "  Lenormant  Statuette." 

An   Imitation   of   the  chryselephantine    Statue    of 

Athene  Parthenos,  by  Pheidias. 
Pentelic  Marble. 

Found,  in  the  year  1859,  near  the  Pnyx,  at  Athens. 
National  Museum^  Athens. 

34.  Statuette. 

Goddess  Athene  Parthenos. 

A    Reduction    of  the   chryselephantine    Statue   by 

Pheidias.     Roman  Era. 
Pentelic  Marble. 
Found,  in  the  year  1880,  near  the  Varvakeion,  or  northern 

extent  of  ancient  Athens. 
National  Museum,  Athens. 

35.  Statue. 

Goddess  Athene  Promachos. 

Roman  Reproduction  of  an  archaistic  Temple-statue. 

Marble. 

From  Velletri,  in  Italy. 

Museum  of  Antiquities,  Dresden. 

36.  Head,  colossal. 
Goddess  Athene.  v 

A  Sculptor  attributable  to  the  School  of  Pheidias. 

Probably  during  the  Third  Century,  B.  C. 

Pentelic  Marble. 

Found,  in  the  year  1874,  at  Athens,  amidst  the  remains  of  the 

great  Monumental  Group  erected  by  Euboulides. 
National  Museum,  Athens. 

37.  Statue,  colossal. 

Goddess  Athene:  "  Pallas  of  Velletri." 

Roman   Copy   of  a   Statue   referable   to   the   Fourth  Cen- 
tury, B.  C. 
Parian  Marble,  from  an  Original  in  Bronze. 
Found,  in  the  year  1797,  at  Velletri,  in  Italy. 
Museum  of  the  Louvre,  Paris. 


parthenon  section— hall  8.  71 

38.  Bust. 

Goddess  Athene. 

Roman  Copy  of  an  Early  Greek  Type. 

Pentelic    Marble. 

Found  near  Tusculum  (Villa  of  Licinius  Murena),  in  Italy. 

Glyptothek)  Munich :  From  the  Villa  Albani,  Rome. 

39.  Statue. 

Goddess  Athene:  "Pallas  Giustiniani." 

Copy,  made  in  the  Roman  Epoch,  of  an  Original  possibly  as 

early  as  the  Fifth  Century,  B.  C. 
Parian  Marble,  from  an  Original  in  Bronze. 
Found  amidst  the  ruins  of  a  Temple  to   Minerva  Campensis 

(on  the  site  of  the  church  of  santa  maria  sopra  mlnerva), 

in  Rome. 
Museum  of  the   Vatican  (Braccio  Nuovo),  Rome. 

40.  Head,  from  a   pedimental  Statue. 
Goddess  Athene,  in  conflict  with  Giants. 

as   represented   upon   the  temple  erected  to  her  honor  by 

Peisistratos. 
An  early  Attic  (?)  Sculptor. 
Middle  of  the  Sixth  Century,  B.  C. 
Parian  Marble. 
Found,  in  the  year  1863,  to  the  East  of  the  Parthenon  on  the 

Akropolis,  at  Athens. 
Akropolis  Museum,  Athens. 

41.  Statuette. 

Goddess  Athene  Parthenos. 

A  Rendering,  on  a  small  scale,  of  the  chryselephantine  Statue 

of  Athene  by  Pheidias. 
Sronze. 

Found  in  the  year  1828,  near  Stradella,  in  Italy. 
Museo  di  Antichita,   Turin. 

42  to  63.     Low-reliefs. 

Panathenaic    Procession,    at    Athens,    in   honor    of 
Athene  Polias. 

Northern  Half  of  the  Procession 
(continued  from  the  Eastern  Wall  of  this  Room). 

42.  Troop  of  Cows,  led  by  Theori. 

43.  Troop  of  horned  Sheep,  led  by  Boys. 

44.  Tray-bearer — Skaphephoros. 


72  CULLUM  COLLECTION. 

45.  Hydria-bearers — Spondophori. 

46.  Marshal,  and  Charioteer. 

47.  Chariot-driver,  Apobates  carrying  an  Argolic  Buckler,  and 

Attendant. 

48.  Chariot-group — Quadriga  accompanied  by  a  Pompeus. 
4g.  Athenian  Cavalry. 

50.  Cavalry. 

51.  Marshal  beckoning  to  Riders. 

52.  Cavalry. 

53.  Horses  and  Riders. 

54.  Cavalry. 

55.  Cavalry. 

56.  Cavalry. 

57.  Cavalry. 

58.  Horsemen,  wearing  crested  Helmets. 

59.  Cavalry. 

60.  Cavalry. 

61.  Cavalry. 

62.  Rider,  standing  by,  and  holding  in,  his  rearing  horse. 

63.  Rider,  drawing  down  his  chiton  below  the  girdle,  assisted 

by  his  Attendant. 
Executed  under  direction  of  Pheidias.     B.  C.  454-438. 
Pentelic  Marble. 
Frieze  of  the  Cella  on  the  Northern  Side  of  the  Temple  to 

Athene,  Akropolis  at  Athens. 
Parthenon,  Athens :  British  Museum,  London. 

64.  Architectural  Ornament  of  the  Parthenon. 
Lion's  Head  upon  Cyma. 

Executed  under  direction  of  Pheidias.     B.  C.  454-438. 

Pentelic  Marble. 

Decoration  of  the  Springing-stone   to    both    Cymatium    and 

Corona  in  a  Pedimental-angle  of  the  Temple  to  Athene, 

on  the  Akropolis  of  Athens. 
British  Museum,  London. 

65.  Low-relief. 

Young  Man,  training  a  Horse. 

Marble. 

Found,  about  the  year  1769,  in  the  ruins  of  Hadrian's  Villa, 

at  Tivoli. 
British  Museum,  London, 


PARTHENON  SECTION— HALL  8.  73 

66.  Relief. 

Votive  Offering  for  Victory  by  an  Apobates. 

Sculptured,  probably,  in  an  Athenian  workshop. 

First  half  of  the  Fourth  Century,  B.  C. 

Pentelic  Marble. 

Found,  in  the  year  1835,  at  the  Skalaof  Oropos. 

Museum  of  Berlin. 

67,  68,  69.      Frieze-reliefs. 
Victories,  variously  employed. 

67.  Victory,  winged,  decking  a  Trophy. 

68.  Victory,  winged,  adjusting  or  removing  her  Sandal. 

69.  Two  Victories,  winged,  leading  a  Bull  to  Sacrifice. 

Executed  under  the  direction  of  Kallikrates,  archi- 
tect of  the  Edifice. 

Latter  part  of  the  Fifth  Century,  B.  C. 

Pentelic  Marble. 

Balustrade  of  the  Temple  to  Athene  Nike,  on  the  Akropolis, 
at  Athens. 

Museum  of  the  Akropolis,  Athens. 

70  to  77.      Statues,  colossal. 

Birth  of  the  goddess  Athene  from  the  Brain  of  the 
deity  Zeus. 

70.  Helios  in  his  Chariot,  rising  from  the  Sea. 

71.  Two  Horses  of  Helios. 

72.  Kephalos,  the  beautiful  hunter  carried  off  by  Eos. 

73.  Horai:  the  Seasons.   Spring  and  Autumn,  Thallo  and  Karpo. 

74.  Hebe,  terrified  at  the  sudden  manifestation  of  Athene,  and 

hastening  away. 

75.  Moirai :  the  Fates.     Klotho,  Lachesis,  and  Atropos. 

76.  Nyx,  driving  a  quadriga. 

77.  One  Horse  of  Nyx. 

Executed  under  direction  of  Pheidias.     B.  C.  454-438. 

Pentelic  Marble. 

Tympanum-sculptures  of  the  Eastern  Pediment  in  the  Temple 
to  Athene,  on  the  Akropolis,  at  Athens. 

British  Museum,  London  :  Akropolis  Museum,  Athens. 

78  to  85.      High-reliefs. 

Contest  between  Centaurs  and  Lapiths  at  the 
Marriage-feast  of  Peirithobs. 

78.  An  unexpected  fall. 

In  the  conflict,  a  Centaur  has  succeeded  in  driving  backward 
a  Lapith  until  he  trips  and  tumbles  over   a  large  wine- jar 


74  CULLUM  COLLECTION. 

{fiithos)-.  the  falling  athlete  throws  out  his  right  arm  behind 
him  for  support,  and  with  his  left,  chlamys-bearing,  clutches 
his  antagonist  by  the  beard. 

79.  Methods  of  offense. 

A  Lapith  lifts  his  left  foot  to  kick  or  repel  the  Centaur,  who, 
rearing,  seeks  to  beat  down  his  opponent  by  some  weapon  of 
wood,  or  by  hurling  at  him  some  sort  of  missile,  possibly  of 
stone. 

80.  A  Lapith's  success. 

The  Centaur,  having  received  a  wound  in  his  back,  endeavors 
to  escape  toward  the  right,  rearing  and  pressing  his  right  hand 
against  the  wound :  the  Lapith  checks  his  flight  by  catching 
him  by  the  hair  with  his  left  hand -until  he  can  administer  a 
finishing  stroke  with  his  right.  A  large  chlamys  falls  gracefully 
from  both  the  arms  of  the  victor.  In  composition,  treatment, 
and  finish,  this  metope  ranks  as  one  of  the  best  in  the  series. 

81.  The  Centaur  triumphant. 

His  foe  lies  lifeless  upon  the  ground  beneath.  Apparently 
none  the  worse  from  the  fight,  whisking  his  tail,  waving  the 
lion's  skin  by  a  boastful  gesture  of  his  left  arm,  the  ends  and 
tail  of  this  his  only  robe  flying  behind  him,  the  Centaur  dashes 
away  toward  the  right  in  search  of  a  new  victim. 

82.  A  prize  borne  away. 

A  Centaur  has  captured  a  Lapith  woman,  and,  having  caught 
her  round  the  waist  by  his  left  arm,  has  lifted  her  off  her 
feet,  and  is  bearing  her  away  as  fast  as  he  can.  By  her  left 
hand  she  tries  hard  to  loosen  his  hold,  but  of  no  avail :  the 
action  of  her  limbs,  throwing  her  chiton  into  disorder,  displays 
the  violence  of  the  struggle,  and  her  mantle  floating  behind 
the  human  and  over  the  equine  body  of  the  Centaur  shows  the 
rapidity  of  the  flight.  To  this  Centaur  pointed  ears  have  been 
given  in  token  of  his  half -brutal  character,  analogous  to  that 
of  a  satyr. 

83.  A  Centaur  overcoming  a  Lapith  man. 

With  lion's  skin  thrown  behind  him  by  the  movements  of  his 
arms,  he  has  beaten  down  his  enemy  who  has  lost  all  power  of 
further  defence,  though  still  trying  to  hold  off  the  conqueror 
by  his  right  arm  and  to  pick  up  a  stone  by  his  left  hand,  his 
countenance  betraying  extreme  distress.  This  metope,  in 
respect  of  design  and  modeling,  ranks  among  the  highest  in 
the  collection. 

84.  The  Centaur  throwing  a  Lapith. 

He  has  grasped  the  wrestler  by  the  throat,  and,  by  locking 
one  of  his  forefeet  in  with  the  right  leg  of  his  human  rival,  is 


PARTHENON  SECTION— HALL  8.  75 

trying  to  upset  him.     The  Lapith  has  caught  the  Centaur  by 
the  beard,  but  his  bent  left  knee  indicates  that  he  is  tottering 
to  his  fall  :  both  are  still  hammering  each  other  with  their  free 
arms  and  clenched  hands  or  possibly  heavy  weapons. 
85.  An  unsettled  affair. 

By  his  left  hand  the  Centaur  has  grasped  his  competitor 
by  the  back  of  the  head,  and  by  his  right  he  is  about  to 
strike  with  his  utmost  force,  at  the  same  time  he  has  thrown 
both  forelegs  around  the  body  and  thighs  of  his  aggressor  and 
seems  to  be  drawing  him  into  uncomfortably  close  quarters — 
still,  the  Lapith,  firmly  maintaining  his  position  upon  his  feet, 
exhibits  no  sign  of  yielding  or  of  fear,  and  boldly  advances 
upon  his  right  leg  in  order  to  stab  the  Centaur  with  some  sharp 
instrument  held  in  his  left  hand.  A  bronze  helmet  may  have 
been  placed  upon  the  head  of  this  figure. 

Executed  under  direction  of  Pheidias.     B.  C.  454-438. 

Pentelic  Marble. 

Metopes    of    Entablature  upon   the  Southern  Side    of    the 
Temple  to  Athene,  on  the  Akropolis  at  Athens. 

British  Museum,  London. 

86.     High-relief.  (Balcony  of  Southern  Gallery 
in    Hall    12  :    Collection    of    Willard 
Architectural  Casts). 
Contest  between  a  Centaur  and  a  Lapith  Woman  at 
the  Marriage-feast  of  Peirithoos. 
An  unwelcome  suitor. 

A  bald-headed  Centaur  has  caught  a  female  Lapith,  and  is 

drawing  her  close  to  himself:  she  resists  his  movement  by  her 

right  arm,  and  by  her  left  hand  retains  in  place  her  Doric 

chiton  open  at  the  side.     The  drapery  of  this  latter  figure  has 

been  carefully  studied,  and  finely  treated.     Heads  have  been 

added  to  both  forms,  and  the  left  leg  to  the  woman,  by  the 

Sculptor  Lange,  in  Paris ;  but  the  countenance  of  the  female 

Lapith  is  destitute  of  every  trace  of  emotion  natural  to  such 

a  struggle,  and  the  restorations  in  respect  of  taste  and  style 

fall  far  short  of  classic  excellence. 

Executed  under  direction  of  Pheidias.     B.  C.  454-438. 

Pentelic  Marble. 

Metope  of  Entablature  upon  the  Southern  Side  of  the  Temple 

to  Athene,  on  the  Akropolis  at  Athens. 
Museum  of  the  Louvre%  Paris. 


76  CULLUM  COLLECTION. 

87  to  95.     Low-reliefs. 

Panathenaic  Procession,  in  honor  of  Athene  Polias, 
at  Athens. 

Northern  Half  of  the  Procession 
continued  from  the  Southern  Wall  of  this  Room). 

87.  Herald,  leading  the  march  of  Cavalry  following. 

88.  Two  mounted  figures. 

89.  Rider,  as  yet  unmounted,  inserting  Bit  in  his  Horse's  mouth. 

90.  Two  mounted  Horsemen. 

91.  Cavalier,  protected  by  elaborately  decorated  Armor,  upon  a 

Horse  represented   as  having  left  the  ground   as   he 
prances  :  a  dismounted  Companion  tying  his  Boot. 

92.  Rider  trying  to  control  his  rearing  Horse. 

93.  Cavalier    wearing  a  Petasos,  or  broad-brimmed  hat  chosen 

by  travelers. 

94.  Cavalry. 

95.  Equestrian    Parader   standing    at    his    Horse's    Head;    a 

Marshal;  and  an  Attendant. 

Executed  under  the  direction  of  Pheidias. 

B.  C.  454-438. 

Pentelic  Marble. 

Frieze  of  the  Cella  upon  the  Western  End  of  the  Temple  to 

Athene,  on  the  Akropolis  at  Athens. 
The  two  first  casts,  on  the  left,  British  Museum,  London  ;  all 

the  rest  still  remain  in  situ  upon  the  Parthenon,  Athens. 


96.  Relief. 

Theseus,  subduing  Skeiron. 

Myron  ?    B.  C.  450  to  440. 

Parian  Marble. 

A  Metope  upon  the  Northern  Side  of  the  Theseion,  at  AthensJ 

Still  in  place. 

97.  Relief. 

Theseus,  throwing  the  Arkadian   wrestler  Kerkyon. 

Myron  ?    B.  C.  450  to  440. 

Parian  Marble. 

A  Metope  upon  the  Northern  Side  of  the  Theseion,  at  AthensJ 

Still  in  place. 


PARTHENON  SECTION— HALL  8.  77 

98.  Monument,  with  Reliefs. 

A  Puteal,  decorated  with  Birth  of  Athene. 

A  Sculptor  of  the  Neo-attic  School,  in  Italy. 

Marble. 

National  Archceological  Museum,  Madrid. 

99.  Bust. 

Polymnia  (?),  Muse  of  Lyric  Poetry. 
An  early  Attic  Master,  sharing  the  sentiment  and 
style  of  Pheidias.     Middle  of  the  Fifth  Century,  B.  C. 
Parian   Marble. 
Purchased  in  Naples. 
Glyptothek,  Munich. 

100.  Half-size  Statue. 
Goddess  Demeter,  or  Kore  ? 

A  Sculptor  of  the  early  Attic  School  ? 
Middle  of  the  Fifth  Century,  B.  C.  ? 
Marble. 

Museum  of  the  Vatican  (Galleria  dei  Candelabri\  Rome :  from 
the  Mattei  Collection, 

101.  Statue,  colossal. 
Goddess  Athene. 

Artist  of  the  original  Statue:    A  Sculptor  belonging 

to  the  School  of  Pheidias. 
Epoch  of  Pheidias  ?  or  last  half  of  the  Fifth  Century,  B.  C. 
Carrara  Marble?    If  so — a  Copy  dating  from  the  Era  of  the 

Roman  Empire. 
Unknown. 
£cole  des  Beaux  Arts,  Paris :  from  the  Collection  of  the  Villa 

Medici,  Rome. 

102.  Statue,  colossal. 
Goddess  Demeter? 

An  Artist  belonging  to  the  School  of  Pheidias. 

Middle  of  the  Fourth  Century,  B.  C. 

Pentelic  Marble. 

Found  in  the  Palazzo  della  Cancellaria,  near  the  site  of 

the   ancient   Curia,    and   the   Theatre    of   Pompey   the 

Great,  at  Rome. 
Museum  of  the  Vatican  (Rotunda),  Rome. 


78  CULLUM  COLLECTION. 

103.  Upper  portion  of  Statue. 
The  god  Asklepios. 

Executed  by  an  Attic  Sculptor  inspired  by  the  style 

of  Skopas. 
Pentelic  Marble. 
Found,  in  the  year  1888,  in  the  Peiraieus,  near  the  Hill  of 

Munychia. 
National  Museum ,  Athens. 

104.  Statue. 
Asklepios. 

A   Sculptor   of   the   Attic   School,  in  the  Epoch  of 

Pheidias. 
Latter  part  of  the  Fifth  Century  B.  C. 
Copy  in  Pentelic  Marble,  of  the  early  Statue  now  lost. 
Found,  amidst  the  ruins  of  a  Temple,  at  Antium,  in  Italy. 
Museum  of  Dresden  :  from  the  Albani  Collection. 

105.  Low-relief,  upon  Base  of  a  Monument. 
Surgical  Instruments  for  Cupping,  and  Scarifying. 

Outside  the  folding  case — Two  cupping-glasses. 
In  the  folding  case— Three  blunt  knives,  Two  scalpels  curved, 
and  One  probe  recurved. 
Marble. 
Found  on  the  southern  slope  of  the  Akropolis,  or  site  of  the 

asklepieion,  at  athens. 
Barbakeion  Lykeion,  Athens. 

106.  Low-relief. 

Portrait  of  the  god  Asklepios :  an  Imitation  of  the 
chryselephantine  Statue  which  stood  in  the 
Temple  of  Asklepios,  in  Epidauria — the  work  of 
Thrasymedes  of  Paros. 

Latter  part  of  the  Fifth  Century  B.  C. 

Pentelic  Marble. 

Sanctuary  of  Asklepios,  near  Epidauros. 

National  Museum,  Athens. 

107  to  129.     Low-reliefs. 

Panathenaic  Procession,  at  Athens,  in  honor  of 
Athene  Polias. 

Southern  Half  of  the  Procession 
(continued  from  Eastern  Wall  of  this  Room). 


PARTHENON  SECTION— HALL  8.  79 

107.  Marshal,  looking  back  toward  the  advancing  Procession. 

108.  Victim  for  sacrifice — a  Cow. 

109.  Youths,  escorting  a  Victim, 
no.  Youth  adjusting  a  Wreath. 
in.  Cows  and  their  Keepers. 

112.  Youths,  or  Theori,  restraining  a  Victim. 

113.  Escort  leaning  backward   and   obliged   to   brace    his   foot 

against  a  Rock  in  order  to  check  an  impatient  Animal. 

114.  Victims — Cows. 

115.  Quadriga — Warrior  wearing  the  Corinthian  Helmet. 

116.  Chariot-horses. 

117.  Marshal,  giving  an  order  to  Hoplites. 

118.  First  of  the  Cavalry. 

119.  Horses  and  Riders. 

120.  Horsemen. 

121.  Cavaliers. 

122.  Riders,  one  bare  headed  and  the  other  capped. 

123.  Cavalry. 

124.  Group  of  Cavalry. 

125.  Rider  wearing  a  Cuirass. 

126.  Horses   having  manes   beginning   with   a   large  Forelock 

turned  upwards. 

127.  Unarmed  Athenian  Horsemen. 

128.  Rider  protected  by  a  close-fitting  Cuirass. 

129.  End  of  Cavalcade. 

Executed  under  the  direction  of  Pheidias. 

B.  C.  454-438. 

Pentelic   Marble. 

Frieze  of  Cella  upon  the  Northern   Side  of  the  Temple  to 

Athene,  on  the  Akropolis  at  Athens. 
Parthenon,  Athens  :  British  Museum,  London. 

130  to  138.     Statues,  and   Portions  of  Figures, 
colossal. 
Contest   of  the   deity   Poseidon    with     the    goddess 
Athene  for  the  Supremacy  of  Attika. 

130.  Bouzyges,  legendary  first  plowman  in  Attika, 

131.  Hermes,  the  messenger  of  the  gods. 

132.  Goddess  Athene. 

133.  Deity  Poseidon. 

134.  Iris?  or  Nereid? 

135.  Amphitrite. 

136.  Oreithyia,  daughter  of  Erechtheus. 


80  CULLUM   COLLECTION. 

137.  Kreousa,  daughter  of  Erechtheus. 

138.  Boutes,  son  of  Pandion. 

Executed  under  the  direction  of  Pheidias. 

B.  C.  456-438. 

Pentelic  Marble. 

Tympanum-sculptures  of  the  Western  Pediment  in  the  Temple 

to  Athene,  on  the  Akropolis  at  Athens. 
Akropolis  Museum,  Athens  :  British  Museum,  London. 

139  to  153.     Fragments  of  Sculptures. 
Mythological  Motives. 

139.  Brow  of  colossal  Head. 

140.  Feet  of  a  Figure,  shod  with  Leather,  attached  to  a  Plinth, 

with  Trunk  of  a  Tree  rising  between  them. 

141.  Portion  of  colossal  Right  Arm  of  a  Female  Figure. 

142.  Left  Arm  of  a  Female  Figure,  with  Drapery. 

143.  Right  Arm  of  Female  Figure. 

144.  Left  Fore-arm  of  Female  Figure. 

145.  Fore-arm  of  Female  Figure. 

146.  Portion  of  Left  Thigh. 

147.  Fore-part  of  Right  Foot  of  Female  Figure.     , 

148.  Portion  of  Drapery,  hung  from  the  extended  Right  Arm  of 

a  colossal  Figure. 

149.  Portion  of  Left  Upper-arm  of  Female  Figure,  draped  by 

Sleeve  of  Chiton,  fastened  with  three  studs. 

150.  Draped  Right  Thigh  of  "  Iris  "  in  the  Western  Pediment. 

151.  Portion  of  Arm,  bent  at  Elbow. 

152.  Portion  of  Fore-arm. 

153.  Portion  of  Serpent-fold. 

Executed  under  the  direction  of  Pheidias. 

B.  C.  454-438. 

Pentelic  Marble. 

Attributed  to  the  Pediments  of  the  Temple  to  Athene,  on  the 

Akropolis  at  Athens. 
British  Museum,  London  :  Akropolis  Museum,  Athens. 

154.     Topographical  Relief. 

Model  of  the  Akropolis  and  its   Environs,  Athens : 

on  the  Scale  of  1  to  425. 
Executed  by  Heinrich  Walger,  Berlin. 
1895. 


PARTHENON  SECTION— HALL  8.  80  a 

I55>  156.      Group. 

Kekrops,  legendary  first  king  of  Attika,  and  his 
daughters. 

155.  King  Kekrops,  and  his  youngest  daughter,  Pandrosos. 

156.  Herse,  second  daughter  of  King  Kekrops. 

A  Sculptor  who  reproduced  the  Statues  of  the 
Western  Tympanum  of  the  Parthenon  in  Reduc- 
tions     OF      ABOUT      ONE-FOURTH     THE     SIZE     OF     THE 

Originals.     In  the  Fourth  Century,  B.  C. 

Pentelic   Marble. 

Found,  in  the  year  1887,  along  with  the  Head  of  Eubouleus 
(No.  66,  Hellenic  Section),  during  the  course  of  excava- 
tions carried  on  by  D.  Philios,  at  Eleusis. 

National  Museum,  Athens. 

157.  Group. 

Oreithyia,  daughter  of  Erechtheus,  and  her  son 
Kalais. 

A  Sculptor  who  reproduced  the  Statues  of  the 
Western  Tympanum  of  the  Parthenon  in  Reduc- 
tions    OF     ABOUT     ONE-FOURTH     THE      SIZE      OF     THE 

Originals.     In  the  Fourth  Century,  B.  C. 
Pentelic   Marble. 
Found,    in    the   year    1887,    by    excavations    carried    on   by 

D.  Philios,  at  Eleusis. 
National  Museum,  Athens. 

158.  Low-relief  :  decoration  of  a  judicial  arm- 

chair or  throne. 
Erechtheus,  king  of  Athens,  sacrificing  his  daughter 

Chthonia  upon  the  demand  of  Poseidon  for  the 

loss  of  his  son  Eumolpos. 
Fifth  Century,  B.  C. 
Pentelic   Marble. 
Found,  in  the  year  18 10,  on  the  site  of  the  ancient  Prytaneion, 

at  Athens. 
Broom  Hall,  seat  of  the  Earl  of  Elgin,  County   of  Fife, 

Scotland. 


80  B  CULLUM  COLLECTION. 

159.  Head. 
Goddess  Nike. 

Executed  under  the  direction  of  Pheidias. 

B.  C.  454-438. 

Pentelic  Marble. 

Pedimental  Sculpture   from  .the  Western  Tympanum  of  the 

Parthenon. 
Collection  of  Madame  la  Marquise  de  Labor -de,  Paris  :  brought 
from  Athens  by  Felice  San  Gallo,  Secretary  to  the  Doge  of 

Venice,  Morosini. 

160.  Head,  originally  inserted  in  a  Statue. 
Goddess  Aphrodite:  "Venus  Urania,"  or  "  Genetrix," 

with  hair  bound  by  a  sphendone. 

An  Attic  Sculptor  in  the  Pheidian  Age — Alkamenes? 

Toward  the  end  of  the  Fifth  Century,  B.  C. 

Parian   Marble. 

Purchased,  in  the  year  1873,  from  Signor  Ferrantini,  at  Rome. 

Museum  of  Berlin. 

161.  High-relief. 
Sepulchral  Portrait. 

An  early  Attic  Sculptor  :  School  of  Pheidias. 

Middle  of  the  Fifth  Century,  B.  C. 

Pentelic   Marble. 

Found  in  Athens. 

Collection  of  the  Lansdowne  House,  London. 

162.  Low-relief,  with  Greek  Inscription. 
Wreath   of  Ivy-leaves    and   fruit,  representing  the 

Crown  bestowed  by  the  demos  upon  a  Committee! 
appointed  to  oversee  the  execution  and  setting 
up  of  an  important  Statue. 

Fifth  Century,  B.  C. 

Pentelic   Marble. 

Found,  in  the  year  1888,  at  Ikaria  in  Attika,  during  excava- 
tions made  there  by  -the  American  School  of  Classical 
Studies  at  Athens. 

Retained  in  Stamata. 


PARTHENON  SECTION— HALL  8.  80  c 

163.     High-relief. 

Maenads  leading  a  Bull  to  the  Altar  of  Dionysos. 

In  part,  an  Imitation  of  "  Two  Winged  Victories  leading  a 
Bull  to  Sacrifice,"  No.  69,  on  the  opposite  wall  of  this  Section. 
For  the  Motive — Epoch  of  Pheidias. 
For  the  Modification— Neo-attic  Era  in  Italy. 
Pentelic   Marble. 

Formerly  in  the  Collection  Capranica,  at  Rome. 
Gallery  of  the  Uffizi  (Cabinet  of  the  Hermaphrodite)  y  Florence. 


164.     High-relief. 
Sepulchral  Banquet. 

First  half  of  the  Fourth  Century,  B.  C. 

Marble. 

Found  in  the  Peiraieus. 

Still  preserved  there. 


165.     High-relief. 

Sepulchral  Banquet. 

Fourth  Century,  B.  C. 

Marble. 

Found  in  the  Peiraieus. 

Museum,  Athens. 


166.     High-relief. 

Votive-offering   by    an   Apobates  for    Victory  in   a 
Chariot-race. 

An  Athenian  Sculptor. 

Latter  part  of  the  Fourth  Century,  B  C. 

Marble. 

Found,  in  the  year  1880,  on  the  Western  declivity  of  the 

Akropolis,  at  Athens. 
Museum ,  Athens. 


80  d  CULLUM  COLLECTION. 

167.  Low-relief.  ' 

An  Athenian  Trireme:  fragment  of  a  Memorial 
erected  to  commemorate  Victory  in  a  Galley- 
race. 

An  Attic  Sculptor.     Epoch  of  Pheidias. 

Marble. 

Found,  in  the  year  1852,  upon  the  Akropolis,  outside  the  steps 
of  the  erechtheion,  at  athens. 

Akropolis  Museum^  Athens. 

168.  Relief. 

Subject:  Decoration  of  an  Hermes. 

In  part,  a  Reflection  of  "  Winged  Victory,  adjusting  or  removing 
her  Sandal,"  No.  68  in  this  Section. 
Artist  of  the  Motive — An  Attic  Master. 
Artist  of  the  Adaptation— A  Neo- attic  Sculptor  in 

Italy. 
Bate  of  Execution :  Epoch  of  Pheidias. 
Material  of  Monument :  Attic  Marble. 
Station:   Said  to  have  been  found  near  Naples. 
Place  of  Exhibition  To-day :  Glyptothek,  Munich, 


HELLENIC  SECTION, 

Halls  8  and  11. 


High-relief. 
Subject:  Athenian  Cavalier  dispatching  a  fallen  Foe. 

Artist:  A  Master  of  Attic  Sculpture. 

Date  of  Execution :  About  B.  C.  400. 

Material  of  Monument :  Pentelic  Marble. 

Station  of  Discovery :  Found,  in  the  year  1764,  in  the  Vigna 

Caserta,  not  far  from  the  Arch  of  Gallienus,  at  Rome. 
Place  of  Exhibition  To-day :  Collection  of  the  Villa  Alb ani, 

Rome. 

Low-relief. 
Sepulchral  Banquet:  "Death  of  Sokrates,"  formerly 

so-called. 
Fourth  Century,  B.  C. 
White  Marble. 

Found,  in  the  year  J838,  at  Peiraieus. 
National  Museum,  Athens. 

Low-relief,  with  Inscription  in  Greek. 
Memorial-portrait  of  Xanthippos,  the  Shoemaker. 

The  work  of  an  Attic  Sculptor. 

Close  of  the  Fifth  Century,  B.  C 

Pentelic  Marble. 

Obtained,  in  the  year  1747,  at  the  Monastery  of  the  Asomaton, 

at  Athens. 
British  Museum,  London :  from  the  Townley  Collection. 

High-relief. 
Priestess  of  Leto. 

Executed,  probably,  by  a  Doric  Sculptor. 
Toward  the  end  of  the  Fifth  Century,  B.  C. 
Pentelic  Marble. 

Found,  in  the  year  1887,  at  Mantineia,  in  Arkadia. 
National  Museum,  Athens. 

(81) 


2  cullum  collection. 

5.  High-relief. 

Portrait  of  an  Hydrophoros. 

A  Master  in  Attic  Sculpture. 

Pentelic  Marble. 

Found,  in  the  year  1890,  among  the  tombs  of  the  Cemetery 

outside  the  dlpylon  gate,  at  athens. 
Still  in  place,  ffagia,  Triada,  Athens. 

6.  High-relief. 

Sepulchral  Stela  to  a  Wife  and  Mother. 

An  Attic  Sculptor.     Fourth  Century,  B.  C. 

White  Marble.       -, 

Found,    in    the    year    1870,   in  the  Kerameikos    outside  the 

Dipylon  Gate,  at  Athens. 
National  Museu?n,  Athens. 

7.  High-relief,  with  Inscription  in  Greek. 
Grave-monument  to  "  Archestrate  greatly  longed-for 

by  her  Husband." 
An  Attic  Sculptor.     Fourth  Century,  B.  C. 
Pentelic  Marble. 

Found,  in  the  year  1830,  in  Attika. 
National  Museum,  Athens. 

8.  High-relief. 
Portrait-stela  of  Philino,  deceased. 

A  Master  in  Attic  Sculpture.     Fourth  Century,  B.  C. 
Pentelic  Marble. 

Found  near  Patesia  ?  in  the  bed  of  the  River  Ilissos. 
National  Museum,  Athens. 

9.  High-relief. 

Monumental  Portraits  of  Demetria  and  Pamphile. 
A  Master  of  Attic  Sculpture.     Fourth  Century,  B.  C. 
Pentelic  Marble. 

Found,  in  the  year  1870,  before  the  Dipylon  Gate,  at  Athens. 
Re-erected  upon  its  olden  Site. 


HELLENIC  SECTION— HALL  8.  83 

10.  High-relief,  with  Inscription  in  Greek. 
Sepulchral  /Edicula  in  memory  of  "  Korallion,  wife 

of  Agathon." 
An  Attic  Sculptor.     Fourth  Century,  B.  C 
Pentelic  Marble. 
Found,  in  the  Ancient  Cemetery  near  the  Dipylon  Gate,  at 

Athens. 
Still  in  position,  Hagia  Triada,  Athens. 

11.  High-relief,  with  Greek  Inscription. 
Sepulchral     Monument     to     "  Archestrate,    wife    of 

Alexos  the  Sunian." 
An  Attic  Sculptor.     Fourth  Century,  B.  C 
Pentelic  Marble. 

Found,  in  the  year  1819,  in  the  demos  Aixone  of  Attika. 
Museum  of  Leiden. 

12.  High-relief,  with  Inscription  in  Greek. 
Memorial    of    "  Ameinokleia,    daughter     of     Andro- 

menos." 
An  early  Attic  Sculptor. 
Fourth,  or  possibly  of  the  Fifth,  Century,  B.  C. 
Pentelic  Marble. 

Found,  in  the  year  1836,  at  the  Peiraieus. 
National  Museum,  Athens. 

13.  High-relief. 

A  Father's  Offering  to  the  Memory  of  his  Son — a 

Young  Huntsman. 
A  Master  in  Attic  Sculpture — Skopas  ? 
Fourth  Century,  B.  C. 
Pentelic  Marble. 

Found,  in  the  year  1874,  in  the  bed  of  the  River  Ilissos. 
National  Museum,  Athens. 

14.  Monument,    with    Low-relief   and   Inscrip- 

tions in  Greek. 
Sepulchral    Stela    of  Archedemos. 
Loutrophoros  decorated  with  three  Figures. 
Museum  of  the  Louvrey  Paris. 


84  CULLUM  COLLECTION. 

15,     Monument,  with  Low-reliefs. 

Colossal  Sepulchral  Lekythos  commemorating  certain 

Members  of  a  Family-circle. 
An  early  Attic  Sculptor. 

End  of  the  Fifth,  or  beginning  of  the  Fourth,  Century,  B.  C. 
Pentelic  Marble. 
Found,  in  the  year  1849,  ON  THE  SITE  OF  A  Private  Dwelling,  to 

the  East  of  the  Royal  Palace,  in  Athens. 
National  Museum,  Athens. 


16.     Statue. 

Demeter,  goddess  of  Agriculture  and  Rural  Life. 

Executed  by  a  Master  in  Attic  Sculpture,,  belonging 

to  the  School  of  Praxiteles. 
Fourth  Century,  B.  C. 
Head,  in  Parian  Marble. 

Found,  in  the  year  1858,  at  Knidos,  in  Karia. 
British  Museum,  London. 


17.     Statue. 

Maenad,  dancing. 

A  Master  in  the  Character  and  Technique  of  late 

Hellenic  or  early  Hellenistic  Sculpture. 
Latter  part  of  the  Fourth  Century,  B.  C. 
Parian  Marble. 
Museum  of  Berlin  :  acquired,  in  the  year  1874,  at  Rome. 


18.     Statue. 

Ephebos  :  "  Apollo  Sabouroff." 

A    Sculptor    referable    to    the    Schools    of    Argos 

or  Sikyon. 
Early  in  the  Fourth  Century,  B.  C. 
Bronze. 

Recovered  from  the  Sea,  off  the  Island  of  Salamis,  in  Attika. 
Museufn  of  Berlin. 


HELLENIC  SECTION— HALL  11.  85 

19.  Statue. 
Satyr,  at  rest. 

Praxiteles.     Original — middle  of  the  Fourth  Century,  B.  C. 

Replica  in  Parian  Marble. 

Found,  between  the  years  1861-1865,  on  the  Palatine  Hill,  at 
Rome,  in  the  course  of  excavations  made  by  the  Emperor 
Napoleon  III.,  in  the  ruins  of  the  Palace  of  the  Cesars. 

Museum  of  the  Louvre,  Paris, 

20.  Statue. 

Satyr,  at  rest,  after  playing  the  flute:  the  "Marble 

Faun,"  of  Nathaniel  Hawthorne. 
Praxiteles.     Original — middle  of  the  Fourth  Century,  B.  C. 
Replica  in   Pentelic   Marble,  dating  from  the  Reign   of  the 

Emperor  Hadrian  ? 
Found,  in  the  year  1701,  at  Civita  Lavinia,  where  it  doubtless 

decorated  the  Villa 'of  the  Emperor  Antoninus  Pius. 

Museum  of  the  Capitol  (Hall  of  the  Dying  Galatian),  Rome. 


21.  Group. 

Seilenos,  the  Satyr,  tending  the  infant  Dionysos. 

A  Sculptor  of  the  School  of  Praxiteles. 

Close  of  the  Fourth  Century,  B.  C. 

Original  in  Bronze  :  Copy  in  Grechetto  Marble. 

Found,    sometime    during    the  Sixteenth   Century,  near  the 

Gardens  of  Sallust,  at  Rome. 
Museum  of  the  Louvre,  Paris. 

22.  Statue. 

Satyr,  pouring  wine. 

An  Attic  Sculptor,  of  the  Age  and  School  of  Prax- 
iteles— or  possibly  the  Master  himself. 

Middle  of  the  Fourth  Century,  B.  C. 

A  Copy  in  Marble,  produced  in  the  Roman  Era,  from  the 
Original  in  Bronze. 

Found  at  Castel  Gandolfo,  above  the  Lake  of  Albano. 

Royal  Collection  of  Antiquities,  Dresden. 


86  CULLUM  COLLECTION 

23.  Statue. 
«L'  Apollino." 

An  Imitation  of  a  Praxitelean  Type. 
Toward  the  end  of  the  Fourth  Century,  B.  C.   - 
A  Reduction  in  Grecian  Marble. 

From  the  Original  which  stood  in  the  Lykeion,  at  Athens. 
Gallery  of  the  Uffizi  ( Tribune),  Florence  :  formerly,  in  the 
Villa  Medici,  Rome. 

24.  Statue.  » 
Pythian  Apollo,  at  rest. 
Attributed  to  Praxiteles. 
Middle  of  the  Fourth  Century,  B.  C. 
Parian  Marble. 

Museum  of  the  Louvre,  Paris  :  from  the  Chdteau  a? Ecouen. 

25.  Statue. 
Apollo  Sauroktonos. 

Praxiteles.     Middle  of  the  Fourth  Century,  B.  C. 

Reduction  in  Bronze,  from  the  original  Statue  of  Life-size  also 

in  Bronze. 
Found  in  a  vineyard  below  the  Church  of  Santa  Balbina,  at 

Rome. 
Collection  of  the  Villa  Albani,  Rome, 

26.  Statue. 
Apollo  Sauroktonos. 

Praxiteles.     Middle  of  Fourth  Century,  B.  C. 

Roman  Copy  in  Carrara  Marble,  from  the  Original  in  Bronze. 

Found,  in  the  year  1777,  amidst  the    ruins  of  the  House   of 

Augustus  on  the  Palatine  Hill,  of  Rome. 
Museum  of  the  Vatican  {G alter ia  delle  Statue),  Rome. 

27.  28,  29.  Low-reliefs  :  decoration  of  a  Pedestal. 
Musical  Contest  between  the  divine  Apollo  and  the 

sylvan   Satyr   Marsyas,   in  the   Presence  of  the 
Muses  as  Arbitrators. 

27.  Muses. 

One,  singing  from  a  scroll ;  a  second,  listening  and  holding 
in  her  left  hand  her  scroll  rolled  up  ;  a  third,  offering  the 
second  her  lyre  for  accompaniment. 


HELLENIC  SECTION— HALL  11.  87 

28.  Muses. 

One,  holds  a  double  flute  ;  another,  neither  singing  nor 
playing,  has  both  hands  wrapped  in  her  mantle  ;  a  third, 
seated  on  a  rock,  is  playing  upon  a  lute. 

29.  Apollo. 

The  god,  seated,  rests  a  large  kithara  on  his  knees, 
confidently  and  calmly  awaiting  the  result  of  the  contest;  a 
Phrygian  executioner  stands  ready,  knife  in  hand,  to  slay  the 
impious  and  injudicious  contestant;  Marsyas,  standing  and 
exhibiting  extreme  agitation,  violently  blows  upon  his  flute 
for  the  last  time. 

Executed  from  a  design  by  Praxiteles. 

Middle  of  the  Fourth  Century,  B.  C. 

Pentelic  Marble. 

Found,   in  the  year  1887,  at  Mantineia  of  Arkadia,  upon  or 

near  the  site  of  a  temple  dedicated  to  leto  and  her 

children  Apollo  and  Artemis. 
National  Museum,  Athens. 


30.      Group. 

Eirene,  goddess  of  Peace,  holding  on  her  arm   the 
infant  Ploutos,  god  of  Riches. 

Kephisodotos,  the  Elder,  father  of  Praxiteles. 

Soon  after  B.  C.  375. 

Attic  Marble. 

Set  up  in  Athens  to  commemorate  the  victory  of  Timotheos 

over  the  Spartans  in  the  Battle  at  Leukas. 
Glyptothek,  Munich  :  from  the  Collection  of  the  Villa  Albani. 


31.      Statue. 

Aphrodite,  goddess  of  Beauty  and  Love. 
Praxiteles.     Middle  of  the  Fourth  Century,  B.  C. 
Copy  in  Parian  Marble,  of  the  famous  Statue. 
The  Original  stood  in  the  centre  of  a  small  Temple,  sur- 
rounded by  Myrtle  and  other  trees,  at  Knidos,  in  Karia. 
Glyptothek,  Munich  :  from  the  Palazzo  Braschi,  Rome. 


88  CULLUM  COLLECTION. 

32.     Group. 

The  Three  Graces. 

A  Sculptor  attributed  to  the  School  of  Praxiteles. 

Toward  the  close  of  the  Fourth  Century,  B.  C. 

White  Marble. 

Found,  in  the  year  1503,  at  Rome,  under  the  Pontificate  of 

Pius  II. 
Opera  del  Duomo,  attached  to  the  Cathedral,  Siena. 


33.     Statue. 

The  goddess  Aphrodite:  Knidian  Type. 

A  Follower  of  Praxiteles. 

In  the  latter  part  of  the  Third  Century,  B.  C. 

Grecian  Marble. 

Found  opposite  the  Church  of  San   Vitale,   in   the   valley 

between  the  Quirinal  and  Viminal  Hills,  of  Rome. 
Museum  of  the  Capitol  (Cabinet  of  the  Venus),  Rome. 


34.     Statue. 

Goddess  Aphrodite. 

Praxiteles.     Middle  of  the  Fourth  Century,  B.  C. 
Copy  in  Marble,  of  the  world-renowned  Statue. 
The  Original  stood   "In  the  centre  of  a  small  Temple  in  a 
Grove  of  Myrtles  and  other  trees,"  atKnidos,  in  Karia. 

Museum  of  the  Vatican  (Sala  Croce  Greed),  Rome. 


35.     Head. 

Goddess  Aphrodite. 

Praxiteles.    Middle  of  the  Fourth  Century,  B.  C. 

Reduced  Copy  in  Parian  Marble,  from  the  original   Statue  at 

Knidos,  in  Karia. 
Found,  in  the  year  1881,  under  the  ruins    of  the  Byzantine 

Wall,  at  O  lympia. 
Museum  of  Olympia. 


HELLENIC  SECTION— HALL  11.  89 

36.  Head. 
Goddess  Aphrodite. 

Praxiteles.     Middle  of  the  Fourth  Century,  B.  C. 
Replica  in  White  Marble,  from  the  original  Statue  at  Knidos, 

in  Karia. 
Found  on  the  site  of  Tralleis,  of  Lydia,  in  Asia  Minor. 
Collection  of  Professor  von  Kaufmann,  Berlin. 

37.  Group. 

Hermes,  messenger  of  the  gods,  conveying  the  infant 
Dionysos  to   the  Nymphs. 

Praxiteles.     Middle  of  the  Fourth  Century,  B.  C. 

Parian  Marble. 

The  Heraion,  at  Olympia  :   found  beneath   its  ruins,    in  the 

YEAR  1877. 

Museum  of  Olympia. 

38.  Statue. 
Hermes  enagonios,  or  god  of  the  Palaestra,  at  rest. 

Praxiteles,  or  a  Sculptor  of  his  School. 

Latter  part  of  the  Fourth  Century,  B.  C. 

Grecian  Marble. 

Found  in  the  neighborhood  of  the  Church  of  San  Martino  ai 

Monti,  at  Rome. 
Museum  of  the  Vatican  (Corlile  del  Belvedere),  Rome. 

39.  Statue. 

Hermes,  as  Conductor  of  Souls  to  Hades  (Chthonios) : 
a  Sepulchral  Monument,  and,  as  such,  an  Ideal- 
ization of  the  Deceased. 

A  Sculptor  who  sought  to  reproduce  in  its  essential 

FEATURES  THE  TYPE  OF  PRAXITELES. 

Close  of  the  Fourth  Century,  B.  C. 

Parian  Marble. 

Found,  in  the  year   1833,    on  the  Island  of  Andros,   in  the 

^gean  Sea. 
National  Museum,  Athens. 


90  CULLUM  COLLECTION. 

40.  Statue. 

Goddess  Aphrodite  :  Melian  Type. 

A  Sculptor  of  the  School  of  Praxiteles. 

Close  of  the  Fourth  Century,  B.  C. 

White  Marble. 

Found,  in  the  year  1776,  at    Ostia,  amidst  the  ruins  of  the 

Maritime  Baths  of  the  Emperor  Claudius. 
British  Museum,  London  :  from  the  Townley  Collection. 

41.  Statue. 

"  Psyche." 

Fourth  Century,  B.  C. 

Parian  Marble. 

Found  in  the  Amphitheatre  at  Capua. 

Museum  of  Naples. 

42.  Statue. 
Goddess  Aphrodite. 

Date,  for  the  Type— First  half  of  the  Fourth  Century,  B.  C: 
for  the  Statue — Last  half,  or  about  B.  C.  320. 

Parian  Marble. 

Found,  in  the  year  1820,  on  the  Island  of  Melos  in  the 
Southern  ^gean  Sea. 

Museum  of  the  Louvre,  Paris. 

43.  Statue. 

Eros,  god  of  Love. 

Artist  of  the  Type:  Praxiteles. 

Bate  of  the  original  Statue:  Middle  of  the  Fourth 
Century,  B.  C. 

Roman  Copy  in  Parian  Marble,  executed  in  the  Second 
Century,  A.  D. 

Original:  presented  by  Phryne  to  the  Temple  at  Thespiai,  in 
Bozotia.  Copy  :  found,  on  the  Via  Labicana  at  Centocelle, 
near  Rome,  by  the  Scottish  Painter,  Gavin  Hamilton. 

Museum  of  the  Vatican  (Galleria  delle  Statue),  Rome. 


HELLENIC  SECTION— HALL  11.  91 

44.  Statue. 
Aphrodite  Anadyomene. 

Bate    of  Execution:    for  the  Type— Last   half   of  the 

Fourth  Century,  B.  C:  for  the  Copy— Roman  Era. 
Marble. 

Found  at  Ostia. 
Museum  of  the  Vatican  {Gabinetto  delle  Maschere)f  Rome, 

45.  Statue. 

Goddess  Aphrodite  :  Melian  Type. 

Bate  of  the  Type :  School  of  Praxiteles  ? 

Bate  of  the  Copy :  Roman  Era. 

Hymettian    Marble. 

Found,    in  the  year  1651,   amidst  the   ruins  of  the    Ancient 

Theatre  at  Arles  (the  Roman  Arelate),  in  the  South  of 

France. 
Museum  of  the  Louvre,  Paris. 

46.  Statue. 
The  god  Eros. 

A  Sculptor  of  the  Era  and  School  of  Praxiteles. 

Middle  of  the  Fourth  Century,  B.  C. 

Grecian  Marble. 

Found  in  the  course  of  excavations  made  by  Lord  Elgin  on  the 

Akropolis,  at  Athens. 
British  Museum ,  London. 

47.  Portion  of  Statue. 

Aphrodite. 

Parian  Marble. 

Said  to  have  been  found,  about  the  year  1770,  at  Capo  d'Anzo, 

site  of  the  ancient  antium. 
British  Museum,  London  :  from  the  Collection  of  the  Duke  of 

Richmond. 

48.  Portion  of  Statue. 

"  Ilioneus,"  the  last  of  the  Children  of  Niobe  to  die. 

A  Sculptor  belonging  to  the  School  of  Praxiteles. 

Latter  part  of  the  Fourth  Century,  B.  C 

Parian  Marble. 

Found,  about  the  year  1560,  in  Rome. 

Glyptothek,  Munich. 


92  CULLUM  COLLECTION. 

49.  Statue. 

Second  Daughter  of  Niobe. 

Skopas  ?     First  half  of  the  Fourth  Century,  B.  C. 
Grecian  Marble. 

Found  in  the  Villa  of  Hadrian,  near  Tivoli. 
Museum  of  the  Vatican  {Braccio  Chiaramonti),  Home. 

50.  Statue. 

Eldest  Daughter  of  Niobe. 

Skopas  ? 

Date  of  Execution:  For  the  original  Statue — Middle  of 

the  Fourth  Century,  B.  C. 
Roman  Copy  in  Pentelic   Marble,  of  a  Group  which  stood  in  a 

Temple  to  Apollo  sosianus,  at  Rome. 
Station  of  original  Statue  •'  Seleucia,  in  Kilikia. 

Copy  •  Found,  in  the  year  1583,  in  the  neighborhood  of  the 
Church  of  Saint  John  Lateran,  Rome. 
Gallery  of  the  Uffizi  {Hall  of  Niobe),  Florence. 

51.  Group. 

Niobe  sheltering  her  youngest  Daughter. 

Skopas? 

Date  for  the  Original  ••  Middle  of  the   Fourth  Century, 

B.C. 
Copy  in  Pentelic  Marble,  of  a  Group  which  stood  in  a  Temple 

to  Apollo  Sosianus,  at  Rome. 
Station  of  original  Statue  :  Seleucia,  in  Kilikia. 

Copy-'  Found,  in  the  year  1583,  in  the  neighborhood  of  the 

Church  of  Saint  John  Lateran,  Rome. 
Gallery  of  the  Uffizi  {Hall  of  Niobe) 1,  Florence. 

52.  High-relief  :  from  a  Frieze  that  decorated 

a  Temple  or  a  Tomb. 
Destruction  of  Niobe's  Children.  N 

An  Attic  Sculptor.  Latter  part  of  the  Fourth  Century,  B.  C. 

Grecian  Marble. 

Hermitage,  St.  Petersburg  :  from  the  Collection  Campana. 


hellenic  section— hall  11.  93 

53.     Statue. 

Apollo  Kitharoedos. 

Skopas. 

First  half  of  the  Fourth  Century,  B.  C. 
Replica  in  Carrara  Marble. 

Station  of  the  original  Statue-'   Temple  to  Apollo,   on 
the  Palatine  Hill,  Rome. 
Copy  '  Found,  in   the  year    1774,  in  the  Villa  of  Cassius, 

NEAR  TlVOLI. 

Museum  of  the  Vatican  (Sala  delle  Muse),  Rome. 


54.  Relief. 

Apollo  Kitharoedos,  receiving  a  Libation  from  Nike. 
A  Neo-attic  Sculptor. 

Second  Century  B.  C.  :  Reproduction  of  an  Archaic  Work. 
Marble. 

British  Museum,  London  :  from  the  Sir  William  Hamilton 
Collection. 

55.  'Relief. 

Apollo  Kitharoedos,  receiving  a  Libation  from  Nike, 
Leto,  and  Artemis.  , 

A  Neo-attic  Sculptor. 

Second  Century,  B.  C:  Reproduction  of  an  Original  refer- 
able to  the  Fourth  Century,  B.  C 

Pentelic  Marble. 

Villa  Albani,  at  Rome. 

Museum  of  Berlin :  formerly  in  the  Museum  of  the  Louvre, 
Paris. 


561  57-     Heads. 

Telephos  and  Achilleus? 

Skopas.     First  half  of  the  Fourth  Century,  B.  C. 
Doliana  Marble. 

Western  Pediment  of  the  Temple  to  Athene  Alea,  at  Tegea. 
National  Museum.  Athens. 


94  CULLTJM  COLLECTION. 

58.  Statue. 
Meleager. 

A  Sculptor  referable  to  the  School  of  Skopas. 

Latter  part  of  the  Fourth  Century,  B.  C. 

Hymettian  Marble. 

Found  on  the  Janiculum  Hill,  outside   the    Porta   Portese, 

at  Rome. 
Museum  of  the  Vatican  (Atrio  del  Meleagro),  Rome. 

59.  Statue. 
Herakles. 

Skopas?     Fourth  Century,  B.  C. 

Pentelic  Marble. 

Found,  in  the  year  1790,  in  the  Villa  of  the  Emperor  Hadrian, 

near  Tivoli. 
Collection  of  Antiquities  at  Lansdowne  House,  London. 

60.  Upper  portion  of  Statue. 
Triton. 

Skopas?  or,  a  Master  of  the  later   Attic  School. 

First  half  of  the  Fourth  Century,  B.  C. 

Found  at  San  Angelo,  near  Tivoli. 

Museum  of  the  Vatican  (Galleria  delle  Statue),  Rome. 

61.  Statue. 
Nereid. 

A  Lykian  Master  of  the  style  of  Skopas. 

Early  part  of  the  Fourth  Century,  B.  C. 

Parian  Marble. 

Peristyle  of  the  "Nereid  Monument,"  at  Xanthos,  in  Lykia. 

British  Museum,  London. 

62  to  65.     Reliefs. 

Contest  between  Greeks  and  Asiatic  Warriors. 

One  of  the  latter  mounted. 

A  Lykian  Master  of  the  style  of  Skopas. 

Early  part  of  the  Fourth  Century,  B.  C. 

Parian  Marble. 

Broad,  or  Lower,   Frieze  of  the    "Nereid    Monument,"    at 

Xanthos,  in  Lykia. 
British  Museum,  London. 


HELLENIC  SECTION— HALL  8.  95 

66.  Head. 

Eubouleus,  an  object  of  worship  at  Eleusis. 
Praxiteles.     Middle  of  the  Fourth  Century,  B.  C. 
Parian  Marble. 
Found,  in  the  year  1885,  amongst  the  ruins  of  the  Temple  to 

Pluto,  at  Eleusis. 
National  Museum^  Athens. 

67.  Statue. 
Artemis  Brauronia. 
Praxiteles.     About  B.  C.  346. 

Replica  in  Parian  Marble,  of  the  original  Statue  now  lost. 
Found,  in  the  year  1792,  amongst  the  ruins  of  Gabii. 
Museum  of  the  Louvre,  Paris  :  from  the  Collection  of  the  Villa 
Borghese,  Rome. 

68.  Statue. 

Portrait  of  Anakreon,  the  lyric  poet  of  Teos. 

About  the  middle  of  the  Fourth  Century,  B.  C. 

Grecian  Marble. 

Found,  during  the  Sixteenth  Century,   at  Monte  Calvo,   in 

Sabina. 
Collection  of  the  Villa  Borghese,  Rome. 

69.  Statue,  colossal. 

Portrait  of  Mausolos,  Satrap  of  the  King  of  Persia 

from  B.  C.  377  to  353. 
Pythios.     Shortly  after  B.  C.  353. 
Parian  Marble. 
Originally   placed   in   the   Quadriga  forming   the  crown  of 

the  Mausoleum  at  Halikarnassos,  in  Karia. 
British  Museum,  London. 

70.  71,  72.     Reliefs. 

Combat  between  Greeks  and  Amazons. 

Skopas,  and  contemporaries — Leochares,  Bryaxis,  and 

Timotheos.     Shortly  after  B.  C.  353. 
Parian  Marble. 
"  Frieze  of  the  Order,"  upon  the  Mausoleum  at  Halikarnassos: 

removed  from  the  Castle  of  St.  Peter  in  the  year  1846, 

AND  THE  SITE  OF  THE  MAUSOLEUM  IN  1856-1859. 

British  Museum,  London. 


96  CULLUM  COLLECTION. 

73  to  78.     Reliefs. 

Wedding-procession    of  Poseidon,  god  of  the  Sea, 
and  Amphitrite. 

Skopas,  or  a  Master  of  his  Style. 

Middle  of  the  Fourth  Qentury,  B.  C,  or  an  Imitation  dating 

from  the  Hellenistic  Age. 
Parian  Marble. 
Composition  of  Poseidon,  Thetis,  her  son  Achilleus,  Nereids, 

etc.,  by  Skopas,  which  stood  in  the  Temple  of  Domitius, 

at  Rome  ? 
Glyptothek,  Munich  :  from  the  Palazzo  Santa  Croce,  Rome. 


79.     Statue. 

Ares,  god  of  "War. 

Skopas.     Middle  of  the  Fourth  Century,  B.  C. 

A  Replica    in    Grecian   Marble  from  the  lost  Original:  Eros 

added  in  the  Copy. 
Temple  to  Mars  built  in  Rome  by  D.  Junius  Brutus  Call^ecus  ? 

Found,  in  the  course  of  the  Seventeenth  Century,  within 

the  porticus  of  octavia,  at  rome. 
Collection  of  the  Palazzo  Boncompagni-Ludovisi,  Rome. 


80.     Statue. 

Warrior,  at  rest. 

Pentelic  Marble. 

Collection  of  the  Palazzo  Boncompagni-Ludovisi,  Rome* 


81.     Monument,  with  Reliefs. 
Return  of  Alkestis  to  Admetos. 
Skopas,  or  executed  under  his  direction. 
Soon  after  B.  C.  356. 
White  Marble. 
Drum  of  a  Cqlumna  C^elata,  in  the  Artemision,  at  Ephesos: 

found  in  the  course  of  excavations  carried  on  between 

the  years  1869-1874. 
British  Museum,  London. 


HELLENIC  SECTION— HALL  8.  97 

82.     Group  :  decoration  to  a  Candelabrum. 

Ganymedes,    carried   off"  by   the   Eagle    of  Zeus  to 

Olympos. 
Leochares,  of  Athens.     B.  C.  372. 
Roman   Copy   in   Carrara   Marble   from    the    original    Group 

in*  Bronze. 
Museum  of  the  Vatican  (Galleria  dei  Candelabri),  Rome. 


83.     Statue. 

Apollo  Alexikakos. 

Leochares,  of  Athens. 

Date  of  Execution  :  Original — First    half  of  the   Fourth 

Century,  B.  C. 
Copy — An    ex-voto    commemorating    the    Defeat   of   the 

Galatians,    erected    at    Delphi,    shortly    after   the   year 

B.C.  278. 
Material  of  Monument :  Replica  in  White  Marble,  from  a 

lost  Original  in  Bronze? 
Station  of  original  Statue:  Temple  of  Apollo   Pronaos, 

IN  THE  KeRAMETKOS,  AT  ATHENS. 

Copy:  In  the  neighborhood  of  Capo   d'Anzo,  site  of  the 
ancient  antium,  where  it  was  found  toward  the  end  of 
the  Fifteenth  Century. 
Museum  of  the  Vatican  (Cor tile  del  Belvedere),  Rome. 


84.     Statue. 

Artemis,  goddess  of  the  Chase,   as   Huntress,  with 
Hind. 

Leochares,  of  Athens, 

First  half  of  the  Fourth  Century,  B.  C 

Parian  Marble. 

Rome  :  taken  to  France  early  in  the  Sixteenth  Century. 

Museum  of  the  Louvre,  Paris. 


98  CULLUM  COLLECTION. 

85.  Statue. 

Portrait  of  Sophokles,  a  tragic  poet  of  Athens. 

A  Sculptor  in  the  Era  of  Lykourgos? 

Between  B.  C.  350  and  330  ? 

Lost  Original,  in  Bronze  :   Replica,  in  Grecian  Marble. 

Replica  found,  in  the  year  1838,  in  the  Court  of  a  Private 

House,  at  Terracina. 
Museum  of  the  Lateran,  Rome. 

86.  Statue. 

Portrait  of  Aischines,  an  orator  of  Athens. 
An  Attic  Sculptor.     Era  of  Alexander  the  Great. 
Grecian   Marble. 

Found,  in  the  year  1753,  in  the  Theatre  at  Herculaneum. 
Museum  of  Naples. 

87.  Statue,  with  Inscription  in  Greek. 
Subject  of  the  Statue,  from  base  to  neck — Aristippos  ? 

founder  of  the  Cyrenaic   School   of  philosophy, 
in  Africa. 

Of  the  Head — Portrait  of  a  Roman  sage. 

Date  of  Execution  for  the  Statue — Last  century  of  the 
Republic,  B.  C.  128-29. 

For  the  Head — Beginning  of  the  Empire,  or   Era 
of  Augustus,  B.  C.  29-14  A.  D. 

Material  of  Monument:   Marble,  of  two  different  kinds. 

Station:  The  Statue,  headless,  and  regarded  as  that  of 
the  Athenian  statesman  Aristeides,  was  formerly  safe- 
guarded  IN  THE  HOUSE  OF  M.    FRANCESCO  DI  AsPRA,  NEAR  THE 

church  of  San  Macuto,  in  Rome. 
Place  of  Exhibition  To-day :    Museum    of  the   Palazzo 
Spada  alia  Regula,  Rome. 

88.  Statue.     (Hall  7 :  Olympian  Section.) 
Ephebos. 

A  Sculptor  of  the  Attic  School.     Fourth  Century,  B.  C. 
Pentelic   Marble. 

Found  in  the  excavations  at  Eleusis,  during  the  year  1887. 
National  Museum,  Athens. 


HELLENIC  SECTION— HALL  8.  99 

89.  Statue.     (Hall  7  :  Olympian  Section.) 
The  god  Dionysos,  as  a  Youth. 

EUPHRANOR,  A  NATIVE  OF  KORINTHOS. 

Date    of   Execution:    Original — Middle   of  the   Fourth 
Century,  B.  C.  375-33°- 
Replica — Era  of  the  Emperor  Hadrian,  n  7-1 38  A.  D. 

Lost  Original,  in  Bronze:   Replica,  in  Grecian  Marble. 
Replica:    found  in   the    Bibliotheca  of   Hadrian's  Villa,   at 

Tivoli. 
Museo  Nazionale  Romano,  Rome. 

90.  Statue. 
Apoxyomenos. 

Lysippos. 

Date  of  Original— -Latter  part  of  the  Fourth  Century,  B.  C. 

Of  Replica— -Roman  Era. 
Material  of  Original ;  Bronze. 

Of  Replica:  Bluish  White  Marble. 
Station  of  Original :  Baths  of  Agrippa,  at  Rome. 

Of  Replica :  In  the  Vicolo  delle  Palme,  in  Trasteverf, 
at  Rome,  where  it  was  found  in  the  year  1849. 
Museum  of  the  Vatican  {Braccio  JVuovo),  Rome. 

91.  Statue.     (Hall  7  :  Olympian  Section.) 
"  L'Idolino,"  or  young  Athlete. 

A  Sculptor  of  the  Polykleitan  School. 

Fourth  Century,  B.  C. 

Bronze. 

Found,  in  the  year  1530,  near  Pezaro,  Italy. 

Museo  Archeologico,  Florence. 

92.  Statue. 

The  god  Eros,  stringing  a  Bow. 
A  Sculptor  who  flourished  in  the  Era  of  Lysippos. 
Latter  part  of  the  Fourth  Century,  B.  C. 
Greek  Marble. 

Museum   of  the   Capitol  {Long   Gallery) ,   Rome:  from   the 
Villa  d'JSste,  Tivoli. 


99  c  CULLUM  COLLECTION. 

103.  High-relief,  with  Greek  Inscription. 
Votive   Tablet  dedicated  by  a  family  of  Adorants, 

to  Asklepios,  tutelary  god  of  Medicine,  and  his 
family-circle —his  daughter  Hygieia,  his  sons 
Machaon  and  Podaleirios,  and  his  daughters 
Akeso,  Panakeia,  Jaso. 

An  Attic  Sculptor.     Fourth  Century,  B.  C. 

Marble. 

Derived  from  Loukon,  a  Cloister  in  Thyrea,  the  mountain-land 
between  lakonia  and  argolis. 

National  Museum,  Athens. 

104.  High-relief  :    Head,    fitted    at    base    for 

insertion  upon,  a  figure  seated. 
Portrait  of  an  Euboean  Matron,  from  her  tomb. 
A  Master  in  Attic  Sculpture.     Fourth  Century,  B.  C. 
Pentelic  Marble. 

Found  in  the  Nekropolis  of  Eretria. 
Museum  of  Berlin. 

105.  Statuette. 

The  god  Apollo,  with  locks  confined  by  a  narrow 
band  and  chlamys  suspended  from  the  left 
shoulder. 

Bronze. 

Purchased  in  the    year  1774,  at  the  sale  of  M.  L'Allemand 

de  Choiseul's  Collection. 
British  Museum,  London. 

106.  High-relief  :    a  votive  Tablet. 

Cultus     of    Kybele,     Hekate     (?),     and     Cup-bearer 

(Hermes-kadmilos). 
Beginning  of  the  Fourth  Century,  B.  C. 

Pentelic  Marble. 

Found  in  the  Peiraieus:  acquired  in  the  year  1877. 

Museum  of  Berlin. 


HELLENIC  SECTION— HALL  11.  99  d 

107.  Head,  antique  :    upon  a  bust  dating  from 

the  Seventeenth  Century,  a.  d. 

Aphrodite,  goddess   of  Beauty   and   Love :   Knidian 
type. 

A  Sculptor  of  the  School  of  Praxiteles. 

Latter  part  of  the  Fourth  Century,  B.  C. 

Grecian   Marble. 

Station:  Unknown:    formerly  preserved   in  the  Villa  Bor- 

ghese,  at  Rome. 
Place  of  Exhibition  To- Day :  Museum   of  the  Louvre, 

Paris. 

108.  Relief,    with    Greek    Inscription,    sculp- 

tured upon  the  Pedestal  of  Atarbos, 
which  bore  two  Statues  in  bronze  of 
boys. 

Representation  of  a  Pyrrhic  Chorus,  commemorative 
of  Victory  in  Festival-plays  at  Sparta. 

During  the  term   of    the   Archon    Kephisodoros,  between 

B.  C.  366  and  323. 
Marble. 
Found,  in  the  year  1852,  by  the  excavations  of  von  Beule  on 

the  Western  declivity  of  the  Akropolis,  at  Athens. 
Akropolis  Museum,  Athens. 

109.  Head  :  remnant  of  a  Statue. 
Apollo,  god  of  Music. 

A  Master  of  the   later  Attic   School,  repeating  a 

type  of  Praxiteles. 
Replica   (?)  of   an  Original   dating   from  the   close  of  the 

Fourth  Century,  B.  C. 
Parian   Marble.  / 

Purchased  in  the  year   1773,   from  the  Cardinal  Alexander 

Albani,  at  Rome. 
British  Museum,  London  :  formerly  in  the  Townley  Collection 


99  e  '  CULLUM  COLLECTION. 

no.     Relief,    with     Greek     Inscription,    sculp- 
tured   upon    the    Pedestal   of  Atarbos 
bearing  the  statue  in  bronze  of  a  man. 
Representation  of  a  Cyclic  Chorus,  commemorative 

of  Victory  in  Festival-plays  at  Athens. 
Under  the  magistracy  of  the  Archon  Kephisodoros,  between 

B.  C.  366  and  323. 
Marble. 
Found,  in  the  year  1852,  by  the  excavations  of  von  Beule  on 

the  Western  declivity  of  the  Akropolis,  at  Athens. 
Akropolis  Museum,  Athens. 

in.     Relief. 

Hermes,  messenger  of  the  gods,  conducting  a 
Votary  to  Asklepios,  god  of  the  Medical  Art: 
the  Three  Graces. 

Marble. 

Museum  of  the  Vatican  {Rotunda :  inclosed  in  pedestal  to 
the  colossal  statue  of  the  Emperor  Claudius),  Rome, 

112.    Low-relief  :   probably  from  the  base  of  a 
Statue  or  Group. 
Goddess  Gaia  kourotrophos,  children-rearing,  receiv- 
ing the   offerings   and  listening  to  the  petitions 
of  Mothers. 
Bluish  white  Marble. 

Found  preserved  in  a  church  situated  at  Sigeum,  in  the  Troad. 
British  Museum,  London. 

113  to  122.     Low-reliefs. 

Giving-away,  ekdosis,  of  Hebe  in  marriage-cere- 
mony to  Herakles  by  elder  divinities  of  Olympos: 
"Corinthian  Puteal." 

Party  of  the  Bridegroom  facing,  or  moving  toward,  the  left  to 
meet  the  Bridal  party. 

113.  Athene,  goddess   of   Wisdom  and   Power,    adviser    and 
protectress  of  the  Hero  in  his  Twelve  Great  Works. 


HELLENIC  SECTION— HALL   11.  99  F 

114.  Herakles,  personification    of  manly   Strength,    after    his 

apotheosis,  the  Bridegroom. 

115.  Alkmene,    mother   of    Herakles,    following   her  son  into 

immortality. 

Bridal  Party   facing,  or  moving   toward,   the  right  to  meet  the 
Party  of  the  Bridegroom. 

116.  Hermes,  herald  of  the  gods. 

1x7.    Apollo,  god  of  Song    and  Music,   playing  the  wedding- 
march  upon  his  kithara. 
zi8.  Artemis. 

119.  Zeus,  father  of  Hebe. 

120.  Peitho,  goddess  of  Persuasion,  leading  by  the  left  hand, 

121.  Hebe,   personification  of    Youth    in    its   highest  bloom 

the  Bride,  attended  by, 

122.  Aphrodite,  goddess  of    Love   and   maker   of  the  Match, 

escorting  her  by  the  right  hand. 

Kallimachos.     About  B.  C.  350. 

Marble. 

Found  by  Edward  Dodwell,  Esq.  ,  still  in  use  as  a  well-curb  at 

Corinth,  and  brought  by  him  to  Zante,  from  whence  it  was 

taken  to  England  by  Lord  Guilford. 
British  Museum,  London. 

123.  Statue  :  from  a  Group. 

Athletic  Youth,  warding  a  stroke  or  a  weapon  aimed 
from  above. 

v     A  Grecian  Master.     Era  of  Alexander  the  Great. 
Marble. 

Found  in  the  Villa  of  the  Emperor  Nero,  at  Subiaco. 
Museo  Nazionale  Romano,  Rome. 

124.  Fragment  of  a  Composition. 

Ploutos,  god  of  Riches :   from   the  Group    of  Irene, 

Peace,  and  her  offspring  Ploutos. 
Replica   of  the   work  by   Kephisodotos,   the  Elder, 

father  of  Praxiteles.     Soon  after  B.  C.  375' 
Marble,  from  a  source  uncertain. 

Station:  Original — set  up  in  the  Agora  at  Athens,   after 
conclusion  of  Peace  with  Sparta. 

Replica — recovered,  in  the  year  1881,  from  the  bottom  of 
the  Sea  at  the  Peiraieus. 
National  Museum,  Athens. 


99  G  CULLUM   COLLECTION, 

125.     Head,  detached  from  a  Statue. 

The  god  Dionysos  in  youth,  crowned  with  a  wreath 
of  ivy — foliage  and  fruit. 

An  Attic  Sculptor  of  the  School  of  Praxiteles. 

End  of  the  Fourth  Century,  B.  C. 

Marble. 

Found  in  the  Thermae  of  Caracalla,  at  Rome. 

British  Museum,  London. 


126.     Relief. 

Votive  Tablet,  to  Zeus  Melichios. 

At  Athens  Zeus  in  the  aspect  of  Melichios  was  revered  as  the 
controller  of  the  genial  influences  of  the  air  and  the  sky,  in 
nature ;  and,  in  morals,  he  was  regarded  as  the  god  of  compas- 
sion and  a  restorer  to  the  favor  of  heaven,  the  purifier,  also,  of 
those  who  had  shed  innocent  blood  unintentionally. 

Fourth  Century,  B.  C. 

Hymettian  Marble. 

Found,  by  the  construction  of  a  new  roadway  near  the  Ziller 

MANSIONS,  ON  THE  HARBOR  ZeA. 

Museufn  of  Berlin. 


127.     Head,  broken  off  its  Statue. 

Apollo    Kitharoedos,    under    the    spell    of    musical 
delirium. 

An   Attic  Master   in  the  expression  of  sentiment — 

School  of  Skopas. 
Toward  the   end   of  the  Fourth   Century,  or  early  in   the 

Third,  B.  C. 
Parian  Marble,  from  an  Original  in  Bronze. 
First  acquired  from  the  Giustiniani  Collection,  at  Rome. 
British  Museum,  London :  formerly  in  the  possession  of  the 

Comte  de  Pour  tales. 


HELLENIC  SECTION— HALL  11.  99  h 


128.     Relief. 

Apollo  and  Muses. 

The  god  of  music  and  song  is  seated  on  the  omphalos  and  is 
engaged  in  playing  on  the  Kithara. 
Fifth  Century,  B.  C. 
Pentelic   Marble. 
Found, .in  the  year  1888,  at  Ikaria  of  Attika,  during  the  course 

of  excavations  carried  on  by  the  american  school  of 

Classical  Studies  at  Athens. 
Retained  still  near  the  place  of  discovery \  in  Stamata. 


129.     Head. 

Wild  Boar  of  Kalydon;  from  a  group   representing 
Atalanta   attacking    a   wild   boar  by  thrusts    of 
her  spear. 
Skopas.     First  half  of  the  Fourth  Century,  B.  C. 
Doiiana  Marble. 

Eastern  Pediment  of  the  Temple  to  Athene  Alea,  at  Tegea. 
National  Museum,  Athens. 


130.     Statuette. 

Tyrian  Herakles,  carrying  off  the  Apples  from  the 
Garden  of  the  Hesperides. 

A  TYPE  DATING  FROM  THE  ERA  OF  ALEXANDER  THE  GREAT. 

Bronze. 

Found  amidst  the  ruins  of  a  temple  at  Gebail,  the  ancient 

Byblos,  on  the  coast  of  Phoenicia. 
British  Museum,  London :  fro?n  the  Townley  Collection. 


131.     Relief. 

Votive  Tablet,  to  a  Serpent  inhabiting  a  cave. 

Fourth  Century,  B.  C. 

White   Marble. 

Found  at  Sialesi  (Eteonos),  in  Bceotia. 

Museum  of  Berlin. 


99  I  CULLUM    COLLECTION. 

132.     Relief,  with  Greek  Inscription. 

Votive  Tablet  dedicated  to  "the  Nymphs  and  all 
the  gods,"  by  certain  Athenian  washers  of 
clothing,  who  practised  their  handicraft  on  the 
banks  of  the  Ilissos. 

An  Attic  Sculptor.     Fourth  Century,  B.  C. 
Pentelic   Marble. 

Found,  in  the  year  1759,  in  the  Stadion,  at  Athens. 
Museum  of  Berlin  :  formerly  in  the  Museo  JVani,  Venice. 


133  to  136.     Heads  and  fragment  from  colossal- 
Statues. 

133.  Demeter,  goddess  of  Agriculture,  veiled. 

134.  Portion    of   Drapery  (from  the  mantle   of   the  goddess 

Demeter),  decorated  with  Victories  winged  holding 
candelabra,  Nereids,  Tritons,  other  marine  Creatures, 
Females  with  heads  of  animals  playing  kitharai,  etc., 
and  various  Ornaments. 

135.  Artemis,  goddess  of  the  Chase. 

136.  Anytos,   the    Titan    foster-father    of   goddess  Despoina 

(Persephone). 

Damophon,  a  Messenian  Artist. 

First  half  of  the  Second  Century,  B.  C. 

Dohana(?)  Marble. 

Temple  of  Despoina,  Lykosoura,  in  Arkadia. 

National  Museum.  Athens. 


137.     Bust  :  restored  as  if  intended  for  resting 

upon  an  hermes. 

Portrait  of  Sappho,  of  Mytilene,  lyric  poet. 

Silanion  of  Athens. 

Latter  part  of  the  Fourth  Century,  B.  C. 

A  Replica  in  Marble. 

The  original  Statue  in  Bronze  was  removed  by  Verres  from 

the  prytaneion  at  syracuse. 
Casino  of  the  Villa  Albania  Rome. 


HELLENIC    SECTION— HALL   11.  99  J 

138.  Relief. 

Votive    Tablet   of  Telephanes  to  the  god  Pan  and 

•     the  Nymphs. 
Latter  part  of  the  Fourth  Century,  B.  C. 
Pentelic  Marble. 
Found  in  a  Grotto  devoted  to  the  worship  of  Pan  on  Mount 

Parnes. 
National  Museum,  Athens, 

139.  Bust,   with    later   Inscription   incorrect: 

adapted  for  an  hermes. 
Portrait  of  Plato. 

Silanion,  of  Athens. 

First  half  of  the  Fourth  Century,  B.  C. 

A  Replica  in  Marble,  from  the  lost  Original  in  Bronze. 

The  original  Statue  in  Bronze  was  set  up  in  the  Academy  at 

Athens,  by  the  Persian  Mithradates,  son  of  Rodobates, 

as  an  offering  to  the  muses. 
Museum  of  the  Vatican  (Ha//  of  the  Muses),  Rome. 

140.  Statue.  (Placed  among  Modern  Statuary  : 

-Hall  i.) 
The  goddess  Aphrodite,  alarmed  when   at  bath,  or 
posing  for  the  judgment  of  Paris:    "Venus  de' 
Medici." 
Artist   of    Original:    An    immediate    successor    of 
Praxiteles — one  of    his  sons,    Kephisodotos    or 
Timarchos? 
Of  Replica:  A  Neo- attic  Master. 
Date  of  Execution  of  Replica:    In    the    Second,   or 

possibly  the  First,  Century,  B.  C. 
Material  of  Replica :    Grecian  Marble. 

Of  Copy :  Italian   Marble. 
Station  of  Original ;    Unknown. 

Of  Replica :    Found,   in    eleven  fragments,   on  the  site 
of  the  Portico  of  Octavia,  at  Rome. 
Place  of  Exhibition  To-Day  of  Replica:  Ga/lery  of  the 
Uffizi  ( Tribune),  F/orence. 


HELLENISTIC  SECTION, 

Hall  8. 


i.     Group. 

Subject:  Tyche  tutelary  divinity  of  Antioch,  personi- 
fied with  her  Attributes :  at  her  feet  the  River-god 
Orontes. 

Artist:   EUTYCHIDES  OF  SlKYON,    PUPIL  OF  LYSIPPOS. 

Date  of  Execution :  B.C.  296. 

Material  of  Monument :  Copy  in  Greek  Marble,  from  the 

lost  Original  in  Bronze. 
Station  of  Discovery :  Found  in  the  Tenuta  del  Quadraro, 

OUTSIDE  THE  PORTA  DI  SAN  GlOVANNI,  AT  ROME. 

Place  of  Exhibition  To- day :  Museum  of  the  Vatican 
{Galleria  dei  Candelabri),  Rome, 

2.  Statue. 

Portrait  of  Menandros  (?)  a  comic  Poet  of  Athens. 

Kephisodotos  the  younger,  and  Timarchos. 

Soon  after  B.  C.  291. 

Pentelic  Marble. 

Portico    of    the    Theatre    of  Dionysos  at  Athens?    Found, 
towards  the  end  of  the  sixteenth  century,  in  the  gar- 
DENS of  the  Convent  San  Lorenzo  in  Panisperma,  on  the, 
Viminal  Hill,  at  Rome. 

Museum  of  the  Vatican  {Galleria  delle  Statue),  Rome. 

3.  '  Statue,  with  Inscription  in  Greek. 
Portrait  of  Poseidippos,  a  poet  of  Neo-attic  Comedy. 

An  Attic  Sculptor. 

Early  in  the  Third  Century,  B.  C. 

Pentelic  Marble. 

Portico  of  the  Dionysiac  Theatre  at  Athens  ?  Found,  towards 
the  end  of  the  sixteenth  century,  in  the  gardens  of  the 
Convent  of  San  Lorenzo  in  Panisperma,  at  Rome. 

Museum  of  the  Vatican  (  Galleria  delle  Statue),  Rome, 

(100) 


HELLENISTIC  SECTION— HALL  8.  101 

4.  Statue. 

Portrait  of  Demosthenes. 
Polyeuktos.     About  B.  C.  280. 

Material  of  Monument:  Original  in  Bronze — Replica, 
in   Marble. 

Station :  Original — set  up  in  the  Agora,  of  Athens,  at  public 

COST. 

Place  of  Exhibition :  Replica — Museum  of  the  Vatican 
(Braccio  Nuovo),  Rome :  from  the  Collection  in  the  Villa 
Aldobrandini,  at  Frascati. 

5.  Statue. 

Satyr,  dancing  and  at  the  same  time  performing 
on  a  Scabellum  under  his  right  foot. 

Artist:   Unknown.    Third  Century,  B.  C. 

Grecian  Marble. 

First  recorded  in  the  Medici  an  Inventory  of  the  year  1600  as 
4<  Fauno  con  Crotali." 

Gallery  of  the  Uffizi  (Tribune),  Florence. 

6.  Group. 
Wrestlers. 

Kephisodotos,  the  Younger  ? 
Beginning  of  the  Third  Century,  B.  C. 
Grecian  Marble. 

Found,  in  the  year  1583,  near  the  Gate  of  San  Paolo  and  the 

Church  of  Saint  John  Lateran,  at  Rome. 
Gallery  of  the  Uffizi  (Tribune)y  Florence:    from   the  Villa 

Medici,  Rome. 

7.  Statue. 
Satyr,  sleeping. 
About  B.  C.  300. 
Parian   Marble. 

Found,  during  the  pontificate  of  Urban  VIII.  (1632-1644  A.  D.), 
in  the  moat  of  the  Emperor  Hadrian's  Mausoleum,  or 
Castle  of  San  Angelo,  at  Rome. 

Glyptothek,  Munich :  formerly  in  the  possession  of  the 
Barberini  Family \  Rome. 


102  CULLUM  COLLECTION. 

8.  Relief. 
Maenad,  in  ecstasy. 

A  Sculptor  who  refined  upon  the  Type  of  Skopas. 

Marble. 

Collection  of  the  Villa  Albani,  Rome. 

9,  io.     Reliefs. 
Dancing-girls. 

A  Neo-attic  Sculptor. 

Second  Century,  B.  C:  Reproduction  of  a  Motive  and  Type 

descending  from  the  Fourth. 

Pentelic   Marble. 

Found,  in  the  year  1862,  in  the  Theatre  of  Dionysos,  at  Athens. 

National  Museum,  Athens. 

11.  Statue.     (Hall  ii  :  Hellenic  Section.) 
Goddess  Aphrodite,  cowering. 

A  Sculptor   of  the  Transition  period,  from  Kephiso- 

dotos  to  Daidalos  of  Bithynia.  Third  Century,  B.  C 

Parian  Marble. 

Found  at  Vienne,  in  Dauphiny,  Southern  France. 

Museum  of  the  Louvre. 

12.  Statue.    (Hall  ii  :  Hellenic  Section.) 
Goddess  Aphrodite,  cowering. 

Daidalos,  of  Bithynia  ? 

Original;  Middle  of  the  Third  Century,  B.  C. 
Replica:  Carrara  Marble,  executed  in  the  Roman  Era. 
Found,  about  the  year  1760,  in  the  Podere  Prato  Bagnato,  on 

the  Via  Pr^enestina,  near  Tivoli. 
Museum  of  the  Vatican  (Gabinetto  delle  Maschere),  Rome. 

13.  Architectural  Relief. 
Helios,  rising  from  the  Sea. 

A  Greek  Sculptor  who  flourished  during  the  reign  . 
of  Lysimachos,  or  early  among  the  Diadochoi. 

B.  C.  323-282. 

White  Marble. 

Metope  and  Triglyphs  found  on  the  site  of  a  Temple  at 
hlssarlik  (ruins  of  neo-llion),  during  the  course  of 
Dr.  Schliemann's  excavations  in  the  year  1872. 

Ethnographical  Museum,  Berlin. 


HELLENISTIC  SECTION— HALL  8.  103 

14.  Statue,  colossal,  with  Inscription  in  Greek. 
Themis,  goddess  of  Justice. 

Chairestratos. 

Close  of  the  Fourth  Century,  B.  C. 

Pentelic  Marble. 

Found,    in  the    year   1890,   within  the  Naos   of   Themis    at 

Rhamnous,  in  Attika. 
National  Museum ,  Athens. 

15.  Statue,  colossal. 
Poseidon,  god  of  the  Sea. 

A  Sculptor  of  the  Pergamene,  or  of  the  Rhodian, 
School.     Beginning  of  the  Second  Century,  B.  C 

Parian  Marble. 

Found,  in  the  year  1877,  on  the  Island  of  Melos,  in  the 
Southern  ^Egean  Sea. 

National  Museum,  Athens. 

16.  Statue,  colossal. 

Goddess  Nike:  a  Votive-offering  to  commemorate 
the  Victory  of  Demetrios  Poliorketes,  king  of 
Macedonia,  over  Ptolemy  I.,  king  of  Egypt,  in 
a  naval  Battle  off  the  Island  of  Cyprus. 

Shortly  after  B.  C  306. 

Parian  Marble 

Found,  in  the  year  1863,  on  the  Island  of  Samothrake,  in  the 

Northern  ^Egean  Sea. 
Museum  of  the  Louvre,  Paris. 

17.  Statue,  with  Inscription  in  Greek. 
Portrait  of  an  Athlete,  leaning  upon  a  Spear. 

A  Sculptor  who  imitated  the  work  of  Lysippos. 

Third  Century,  B.  C. 

Bronze. 

Found,   in  the  year   1885,    near  the  site    of    the  Baths    of 

Constantine,  on  the  Quirinal  Hill,  at  Rome. 
Museo  Nazionale  Romano,  Rome. 


104  CULLUM  COLLECTION. 

18.  Statue. 

Portrait  of  a  Boxer  (pankratiastes),  at  rest. 

A  Sculptor  of  the  Sikyonian  School. 

Third  Century,  B.  C. 

Bronze. 

Found,  in    the  year  1885,   near    the  site  of    the    Baths    of 

constantine,  on  the  cjuirinal  hlll,  at  rome. 
Museo  Nazionale  Romano,  Rome. 

19.  Statue. 

Galatian  Warrior,  wounded. 

A  Sculptor   contemporary   with  Attalos  I.,  king  of 

Pergamon.     Third  Century,  B.  C. 
Material  of  Original :  B ro  nze . 

Of  Replica:  A  fine  grained    Marble   from  the    Island  of 

Fourni,  off  the  coast  of  Asia  Minor. 
An  ex-voto  of  King  Attalos,  placed  in  the  Peribolos  of  the 

Temple    to    Athene    Polias    Nikephoros,    at    Pergamon. 

Replica,  found,  in  the  course  of  the  Sixteenth  Century, 

at  Rome. 

Museum  of  the  Capitol  {Hall  of  the  Dying  Galatian),  Rome  : 
formerly  in  the  Collection  of  the  Villa  Ludovisi. 

20.  Group. 

Galatian  "Warrior,  and  his  dying  Wife. 

A  Sculptor  contemporary  with   Attalos  I.,  king    of 

Pergamon.     Third  Century,  B.  C. 
Original,  in  Bronze.   Replica,  a  fine  grained  Marble  from  the 

Island  of  Fourni,  off  the  coast  of  Asia  Minor. 
An  ex-voto  of  King  Attalos,  placed  in  the  Peribolos  of  the 

Temple  to  Athene  Polias  Nikephoros,  at  Pergamon. 
Collection  of  the  Palazzo  B one ompagni- Ludovisi,  Rome. 

21.  High-relief:    Magic    Head,    probably  from 

a  recumbent  colossal  group. 
An  Erinnys,  asleep. 

Related  to  the  Young  Giant,  dying,  formerly  in  place  near  the 
south-east  corner  of  the  Great  Altar  at  Pergamon;  also 
analogous  to  the  Dying  Wife  of  the  Galatian  Warrior,  in 
Group  No.  20  of  this  Section. 

Attributable  to  a  Sculptor  of  the  Pergamene  School. 

Early  in  the  Second  Century,  B.  C. 

Pentelic   Marble. 

Collection  of  the -Palazzo  Boncompagni-Ludovisi,  Rome. 


HELLENISTIC  SECTION— HALL  8.  105 

22.  High-relief. 

Overthrow   of  Giants  by  the   Gods:    Zeus  Group — 

Zeus,  chief  of  the  gods,  against  Porphyrion,  king 

of  the  giants. 
A  Sculptor  contemporary  with  Eumenes  II.,  king  of 

Pergamon.     B.  C.  197  to  159. 
Bluish  white  Marble. 
East  Side  of  the  Great  Altar  dedicated  to  Zeus  Soter  and 

Athene,  on  the  Akropolis  of  Pergamon. 
Museum  of  Berlin. 

23.  HlGH-RELIEF. 

Overthrow  of  Giants  by  the  Gods:  Kybele  and 
Adrasteia  Group — Goddess  Kybele  riding  upon 
a  Lion  to  battle,  conducted  by  Adrasteia. 

A  Sculptor  contemporary  with  Eumenes  II.,  king  of 
Pergamon.    B.  C.  197  to  159. 

Bluish  white  Marble. 

South  Side  of  the  Great  Altar  dedicated  to  Zeus  and  Athene, 
on  the  Akropolis,  at  Pergamon. 

Museum  of  Berlin. 

24.  HlGH-RELIEF. 

Overthrow  of  Giants  by  the  Gods :  Athene  Group — 
Goddess  Athene,  Alkyoneus,  Ge,  and  Nike. 

A  Sculptor  contemporary  with  Eumenes  II.,  king  of 
Pergamon.     B.  C.  197  to  159. 

Bluish  white  Marble. 

East  Side  of  the  Great  Altar  dedicated  to  Zeus  and  Athene, 
on  the  Akropolis  of  Pergamon. 

Museum  of  Berlin. 

25.  Statue. 

"  L' Arrotino : "    Barbarian-executioner   whetting   his 

Knife  for  the  flaying  of  Marsyas. 
A  Sculptor  of  the  Pergamene  School.' 
Third  Century,  B.  C. 
Grecian  Marble. 

Found,  between  the  years  1534  and  1538,  at  Rome. 
Gallery  of  the  Uffizi  (Tribune),  Florence. 


106  cullum  collection. 

26.  Group. 

Laokoon,  and  his  Sons,  attacked  by  the  serpents  of 

Apollo. 
Agesander,  Polydoros,  and  Athenodoros,  of  Rhodes. 
Toward  the  end  of  the  Second  Century,  B.  C. 
Grecian  Marble. 
Palace  of  the  Emperor  Titus.     Refound  in  the  year  1506,  near 

the  Thermae  of  Titus  on  the  Esquiline  Hill,  at  Rome. 
Museum  of  the  Vatican  (Cortile  del  Belvedere),  Rome. 

27.  Statue,    with    Inscription.      (Corridor    of 

Bronzes,  Hall  2.) 
Armed   Warrior  in   attitude   both    of    Defence   and 
Attack. 

Agasias,  son  of  Dositheos,  of  Ephesos  :  a  sculptor 
belonging  to  the  school  of  lysippos. 

Close  of  the  Second  Century,  B.  C 

Material  of  original  Monument:    Marble. 
Of  this  Replica:     Bronze,  by  Barbedienne. 

Station  of  Original:  Found  in  the  course  of  the  pontifi- 
cate of  Paul  V.  Borghese,  1605  to  1621,  at  Capo  d'Anzo, 
site  of  the  ancient  Antium. 

Museum  of  the  Louvre,  Paris. 

28.  Statuette. 

Satyr,  dancing  and   keeping  time  by  the    snapping 

of  his  fingers. 
A  Master  in  later  Grecian  art.     Third  Century  B.  C. 
Bronze. 

Found,  October,  1830,  in  the  House  of  the  Faun,  at  Pompeii. 
National  Museum,  Naples. 

29.  Group  :  decorative  to  a  Fountain  or  Pool 

of  water. 
Eros,  sporting  with  a  Dolphin. 
A  late  Grecian  Artist.     Second  Century,  B^  C. 
Grechetto  Marble. 
Found  at  Capua. 

Museum  of  Naples:  formerly  comprised  in  the  Farnese 
Collection,  at  Rome. 


HELLENISTIC   SECTION— HALL  8.  106  a 

30.  Statue. 

Portrait  of  a   Lady  of  Herculaneum:   an  honorary 

or  commemorative  Statue. 
A  Sculptor  who  reproduced  a  Type  of  the  Hellenic 

Period.     Third  Century,  B.  C. 
Parian  Marble. 
Found,  between  the  years  1709  and  1713,  by  Prince  d'Elbceuf 

of  Lorraine,  amongst  the  ruins  of  Herculaneum. 
Royal  Collection  of  Sculptures,  Dresden. 

31.  High-relief. 

Dionysos,    god    of    Wine,     returning    from    India, 
welcomed  as  a  guest  by  Ikarios  in  Attika. 

Marble. 

British  Museum,  London :  formerly  in  the    Villa  Montalto, 
Rome. 

32.  Relief,  with  Inscriptions  in  Greek. 
Apotheosis  of  Homer. 

Archelaos,  son  of  Apollonios,  of  Priene. 

End  of  the  Second  Century,  B.  C. 

Marble. 

Found,   about  the  middle  of  the  Seventeenth  Century,    at 

bovill^e,  on  the  appian  way. 
British  Museum,  London :  formerly  in  the  Palazzo  Colonnay 

Rome. 

33.  High-relief:  from  a  Frieze? 

Ariadne,   forsaken   by   Theseus,   and   discovered  by 
Dionysos. 

Marble. 

Found,  in  the  Sixteenth  Century,  amongst  the  ruins  of  the 

Villa  of  the  Emperor  Hadrian,  near  Tivoli. 
Museum  of  the  Vatican  (Galleria  delle  Statue) ,  Rome. 

34.  High-relief. 

Ariadne,  saved  by  the   divine    Dionysos,   refreshed 
by  Seilenos. 

Marble. 

Museum  of  the  Vatican  {Galleria  delle  Statue),  Rome. 


106  b  cullum  collection. 

35.  Cameo-relief. 

Ptolemy  I.  Soter,  and  his  wife  Eurydike? 
A  Master  in  the  art  of  Gem-cutting. 
Era  of  the  Diadochoi. 
Onyx. 
Museum  of  the  Hermitage,  St.  Petersburg. 

36.  Vase,     decorated     in     relief.        (Willard 

Collection    of    Architectural    Casts  : 
Hall  12.)  ' 
Celebration  of  a  Dionysiac  Festival. 
A  Neo- Attic  Sculptor.     End  of  the  First  Century,  B.  C. 
Marble,  copied  from  an  Original  in  Bronze. 
Found,  by  the  Scottish  artist  Gavin  Hamilton,  in  Monte  Cagnolo 
on  the  site  of  the  vllla  of  the  emperor  antoninus  plus  at 
clvitas  lavinia,  the  ancient  lanuvium. 
British  Museum,  London, 


GR^ECO-ROMAN    SECTION, 

Hall   8. 


Portion  of  Statue,  with  Greek  Inscription. 
Subject:  Herakles :  "Torso  of  the  Belvedere." 
Artist:  Apollonios,  son  of  Nestor,  an  Athenian. 
Date  of  Execution  :■  Replica  dating  from  the  First  Century, 

B.  C,  of  a  lost  Original  attributable  to  the  Fourth  or 

even  Fifth  Century,  B.  C. 
Material  of  Monument :  Grechetto  Marble. 
Station  of  Discovery :  Found,  in  the  course  of  the^Fifteenth 

Century,  in  Campo  di  Fiori,  amidst  the  ruins  of  the  Theatre 

of  pompey,  at  rome. 
Place  of  Exhibition  To-day :     Museum    of  the  Vatican 

(Atrio  Quadrato  of  the  Belvedere),  Rome. 

Statue. 

Portrait  of  a  Roman  Orator,  as  Hermes  Logios. 
Kleomenes,  son  of  Kleomenes,  Athenian. 
First  Century,  B.  C. 
Parian   Marble. 
Found,  during  the  last  half  of  the  Sixteenth  Century,  on  the 

Esquiline  Hill,  at  Rome. 
Museum  of  the  Louvre,  Paris. 

Statue,  with  Inscription  in  Greek. 
"  Orestes  ";  Ephebos  ;  or,  more  properly,  an  Athlete- 
victor. 

Stephanos,  pupil  of  Pasiteles. 

Last  half  of  the  First  Century,  B.  C,  possibly  a  copy  of  an 
Original  in  Bronze  dating  from  the  Fifth  Century,  B.  C, 
and  executed  by  a  member  of  the  Peloponnesian  School, 
of  which  Hagelaidas  of  Argos  was  chief,  having  been 
instructor  of  Myron,  Pheidias,  and  Polykleitos,  and 
author  of  several  statues  of  victors  at  Olympia. 

Grecian  Marble. 

Found,  in  the  year  1769,  outside  the  Porta  Salaria,  at  Rome. 

Collection  of  the  Villa  Albani,  Rome. 

(107) 


107  A  CULLUM  COLLECTION. 

4.  Group,  with  Inscription  in  Greek. 
"Orestes  and  Elektra." 

Menelaos,  pupil  of  Stephanos. 

Early  in  the  Period  of  the  Roman  Empire,  or  about  the 
time  of  the  Emperor  Tiberius,  14=37,  A.  D.,  in  imita- 
tion, apparently,  of  an  Attic  sepulchral  group  dating 
from  about  the  middle  of  the  Fourth  Century,  B.  C. 

Grecian  Marble. 

Collection  of  the  Palazzo  Boncompagni-Ludovisi ,  Rome. 

5.  Statue. 

Maiden,    binding    her    hair    with    a    long    fillet  in 

preparation  for  the  bath. 
A  Sculptor  of  the  Eclectic  School  of  Arkesilaos  and 

Pasiteles. 
First  Century,  B.  C,  imitating  in  treatment  of  the  head  the 

style  of  the  early  part  of  the  Fifth  Century,  B.  C 
Parian   Marble. 
Found,  in  December,  1874,  on  the  Esquiline  Hill,  in  the  Villa 

Palombara  on  the  site  of  the  Imperial  Gardens,  at  Rome. 
»       Palazzo  dei  Conservatori  {Octagonal  Hall),  Rome. 

6.  Architectural     Relief  :     decoration     of     a 

Frieze.     (Parthenon  Room,  west  end.) 
Menelaos  and  Helen,  in  Quadriga-exercise. 

Menelaos  appears  to  be  mounting,  or  alighting  from,  the 
chariot  in  motion,  after  the  manner  of  an  Apobates. 
An  Imitator  of  Grecian  Themes  and  Style. 
Terra-cotta. 
Museo  Kircheriano.  Rome. 

7.  Architectural  relief  :  portion  of  a  Frieze. 

(Parthenon  Room,  west  end.) 
Pelops  and  Hippodameia,  driving  a  Quadriga. 
An  Imitator  of  Grecian  Themes  and  Style. 
Terra-cotta. 
Museo  Kircheriano,  Rome. 


GRJSCO-ROMAN  SECTION— HALL  8.  107  B 

8.  Relief,  with  Greek   Inscription. 
Memorial  Tablet,  bearing  representations  of  Toilet- 
articles,     used     by    the     "much-to-be-lamented 
Ageta,  daughter  of  Antipatros,  Priestess." 

First  Century,  A.  D. 

Marble. 

Found,  built  into  a  Greek  chapel  at  Slavo-chori,  site  of  the 
ancient  amyklai,  in  lakonia ;  but,  doubtless,  transferred 
from  the  ruins  of  the  temple  to  dlonysos  at  bryseiai, 

NEAR  BY. 

British  Museum,  London. 

9.  Relief,  with  Greek  Inscription. 
Memorial    Offering,  carved   with   representations  of 

Toilet-articles,  to  "  Anthouse,  daughter  of  Da- 
mainetos,  Under-draper  "  [of  a  temple  image  ?]. 

First  Century,  A.  D.  ? 

Marble. 

Found,  housed  in  a  small  Greek  chapel  at  Slavo-chori,  site  of 
the  ancient  amyklai,  in  lakonia ;  but  taken  thither,  no 
doubt,  from  the  remains  of  a  temple  to  dlonysos  at  bryseiai 
not  far  away. 

British  Museum,  London. 

10.  High-relief  :  front  of  a  Sarcophagus. 
Amazons,  at  rest  after  a  Battle. 

Marble. 

Purchased  from  the  Camaldoli,  near  Frascati,  in  Italy. 

British  Museum,  London. 

ii.      Relief. 

Dionysos,  god  of  Wine,  and  his  Devotees  at  Delphi. 

A  Greek  Sculptor. 

White,  finely  grained  Marble. 

Formerly,  in  the  Palazzo  Riccardi,  at  Florence. 

Gallery  of  the  Uffizi  (Hall  of  the  Hermaphrodite),  Florence, 


107  0  CULLUM  COLLECTION. 

12.  High-relief. 
Festal   Procession. 

Dionysos,  god  of  Wine,  follows  a  vase  of  new  grape-juice 
through  a  grove,  supported  by  a  Satyr  and  accompanied  by 
Maenads,  to  the  music  of  double-pipe  and  cymbals. 

Marble. 

Formerly,  in  the  Palazzo  Farnese,  at  Rome. 

Museum  of  Naples. 

13.  Relief  :  an  architectural  Decoration,  from 

the  Frieze  of  some  Sanctuary  to  Dionysos? 
Orgiastic  Dance  of  Satyr  and  Maenad. 
A  Reproducer  of  Grecian  Originals. 
Marble. 
Villa  Albania  Rome. 

14.  Relief. 

Daidalos  finishing  the  Wings  of  Ikaros. 

Rosso  antico  Marble. 

Found  within  the  limits  of  the  old  kingdom  of  Naples. 

Villa  Albani,  Rome. 

15.  High-relief. 

Eros  harassing  a  Centaur. 

Museum  of  the  Capitol,  Rome. 

16.  Relief. 

Infant   Dionysos    borne    by  Maenad  and  Satyr  in  a 

winnowing-fan,  iiknon. 
A  Copyist  of  Grecian  Sculpture. 
Terra-cotta. 
British  Museum,  London. 

17.  Relief  :  section  of  a  Frieze. 

Dionysos,  god    of   Wine,    and    Satyr    carrying    an 
amphora. 

Terra-cotta. 

British  Museum,  London. 


GRJEC0-R0MAN  SECTION— HALL  8.  107  D 

18.  High-relief,    reproduced    from    the    Vaso 

Mediceo. 
Pylades,  companion  to  Orestes. 

White,  finely  grained  Marble. 

Found  in  the  Villa  of  the  emperor  Hadrian,  at  Tivoli. 
Gallery  of  the    Uffizi  {Hall  of  the  Portraits  of  Painters), 
Florence:  formerly  in  the  Villa  Media ',  Rome. 

19.  High-relief,    reproduced     from     the    Vaso 

Mediceo. 
Orestes,  having  arrived  in   Tauris   for    the    purpose 

of  carrying  off  the  image  of  the  goddess  Artemis 

to  Attika,  recognizes  Iphigenia   her  priestess  as 

his  own  sister. 
Marble. 

Found  in  the  Villa  of  the  emperor  Hadrian,  at  Tivoli. 
Gallery  of  the    Uffizi  {Hall  of  the  Portraits   of  Painters), 

Florence:  formerly  in  the  Villa  Medici,  Rome. 

20  to  30.     Reliefs,  from  an  ancient  architectu- 
ral Frieze. 
Zodiacal  and   Festival    Calendar    of  Attic   Months, 
represented  in  Symbols. 

These  Symbols  are  of  two  sorts,  viz.,  Images  of  the  objects  defin- 
ing the  Zodiacal  Constellations;  and  Impersonations  of  the 
Months,  their  Festivals  and  Employments. 

20.   March. 

The  Zodiacal  Constellation  Aries  is  represented  by  a  Ram, 
looking  backward,  precisely  as  drawn  in  the  heavens  to-day. 

The  Month  Elaphebolion  is  personified  by  a  male  figure 
rising  on  the  extreme  left  in  the  series,  draped  by  a  himation 
enveloping  the  entire  body  wTith  the  exception  of  the  left  hand, 
which  holds  out  what  looks  very  much  like  a  spray  of  ivy. 

Between  Elaphebolion  and  the  Ram,  the  Festival  of  Dionysia- 
the-city  is  indicated  by  the  group  of  Dionysos  (?)  dragging  along 
a  Goat.  This  celebrated  Festival  began  on  the  9th  and  lasted 
till  the  14th  of  the  month. 


107  E  CULLUM  COLLECTION. 


21.   April. 


The  Zodiacal  Constellation  Taurus  is  represented  by  a  whole 
Bull,  instead  of  half  a  one  as  now,  posed  upon  the  knee  of  one 
of  his  fore-legs.  This  figure  has  been  for  the  most  part  oblit- 
erated by  the  carving  of  a  Greek  Cross — one  of  the  three 
intended  to  sanctify  the  Frieze  when  it  was  admitted  into  a 
Christian  edifice. 

The  Month  Munychion  is  personated  by  the  manly  form 
standing  immediately  to  the  right  of  the  Ram,  which  is  unlike 
his  predecessor  in  treatment  of  clothing — being  draped  by  a 
himation  covering  only  the  limbs  and  the  left  shoulder. 

On  the  1 6th  of  this  month  the  Festival  Munychia  was  cele- 
brated, sacred  to  the  goddess  Artemis,  who  is  here  introduced, 
to  the  left  hand  of  the  Bull,  under  her  own  portrait,  with 
attribute  of  quiver,  leading  after  her  a  Stag.  As  a  part  of  the 
same  Festival  a  Torch-race  was  held  at  Salamis ;  and  here  to 
the  right  hand  of  the  Bull  a  Torch-bearer  is  introduced,  quite 
nude  and  running  rapidly — doubtless  a  victor  in  the  contest. 

22.   May. 

The  Zodiacal  Constellation  Gemini  is  represented  by  the 
Dioskoroi,  or  Twins,  undressed,  each  fraternally  throwing  an 
arm  around  the  neck  of  the  other,  in  the  attitude  and  correla- 
tion still  attributed  to  them  among  the  stars. 

The  Month  Thargelion  is  personified  by  a  male  adult,  only 
half  invested  by  his  himation,  standing  to  the  left  of  Castor 
and  Pollux. 

The  Festivals  Plynteria  and  Kallynteria  appear  to  be  typified 
by  a  figure,  quite  undraped,  obviously  representing  a  cere- 
monial lustration  by  the  action  of  pouring  water  over  the  head 
from  the  right  hand  and  of  holding  in  the  left  a  stlengis — an 
instrument  of  the  bath.  Soon  after  the  middle  of  the  month 
these  intimately  related  festivals  were  observed,  the  principal 
feature  of  which  was  the  annual  purification  solemnly  given 
the  ancient  effigy  (xoanon)  of  Athene  Polias  preserved  in  the 
Erechtheion.  Her  statue,  after  being  stripped  of  its  armor, 
its  peplos  and  decorations,  was,  under  a  prescribed  ceremonial, 
borne  to  the  fountain  of  Kallirrhoe  on  the  Ilissos  or  to  Phaleron 
by  the  sea,  and  washed.  During  its  absence  the  temple  of  the 
goddess,  bound  round  with  cords,  was  closed.  At  evening, 
the  immaculate  model  of  the  divinity  was  brought  back  in 
torch-light  procession  to  the  sacred  precincts,  to  be  rehabili- 
tated and  freshly  adorned. 

I 


GILECO-ROMAN  SECTION— HALL  8.  107  F 

23.  June. 

The  Zodiacal  Constellation  Cancer  is  represented  by  a  Crab, 
as  it  continues  to  be  fancied  in  the  sky  even  until  now. 

The  Month  Skirophorion  is  personified  by  another  stalwart 
athlete,  whose  himation,  under  the  heat  of  the  summer  solstice, 
has  fallen  lowest  of  all — to  his  left  hip  and  left  elbow :  in  his 
left  hand  he  holds  forth  what  appears  to  be  a  crown. 

The  Festival  Diipolion,  observed  on  the  14th  of  the  month 
at  Athens,  in  honor  of  Zeus  Polieus  as  protector  of  the  city,  is 
intimated  upon  the  stone  by  a  colossal  Priest  in  the  act  of 
striking  down  by  a  blow  of  the  sacrificial  axe,  a  diminutive 
victim.  Cakes  and  grain,  of  various  kinds,  were  placed  upon 
an  altar  to  Zeus  Polieus,  and  a  Bull,  prepared  as  an  offering, 
was  driven  up  to  it ;  but,  as  soon  as  ever  the  animal  began  to 
feed  on  the  corn,  he  was  struck  down  by  the  priest  standing 
ready  with  his  axe.  Instantly  the  priest  fled,  only,  however, 
to  be  soon  caught,  and  with  all  his  attendants  to  be  haled  to 
the  Prytaneion,  charged  with  murder.  As  a  matter  of  for- 
mality under  the  plea  of  '  not  guilty '  the  actors  were  acquitted 
and  the  crime  was  at  length  transferred  to  the  sacrificial  axe, 
which  was  sternly  condemned  and  was  punished  by  being  cast 
into  the  sea. 

At  Athens  the  priesthood  of  Zeus  Polieus  was  restricted  to  a 
few  among  the  chief  families  of  the  city. 

24.  July. 

The  Zodiacal  Constellation  Leo  is  represented,  ever  invari- 
ably, by  a  Lion,  rampant.  Under  the  Lion,  upon  the  Frieze, 
a  three-horned  creature,  similarly  rampant,  is  meant  to  signify, 
undoubtedly,  the  Dog-star,  Seirios,  whose  heliacal  rising  in 
southern  Greece  took  place  about  the  middle  of  July. 

With  the  turn  of  the  sun  toward  the  South  and  the  beginning 
of  shorter  days,  the  months  begin  to  be  personified  by  elderly 
manhood  wrapped  completely  in  the  himation,  from  neck  to 
feet.  The  elder  personating  Hekatombion  has  no  more  than 
his  left  hand  free,  which  reaches  forth  toward  the  picture  of 
the  festival. 

Again  an  erasure  to  make  room  for  a  Greek  Cross  has  wrought 
irreparable  damage,  for  it  has  almost  destroyed  an  inestimable 
design.  We  have  left  merely  the  prow  and  keel  of  a  ship 
riding  upon  four  wheels,  its  rudder,  together  with  tips  of  its 
mast  and  sails.  On  the  28th  of  this  month  the  Panathenaio 
Festival  was  held,  the  most  distinctly  Attic  of  all  the  monthly 
feasts,  and  the  one  which  left  the  greatest  and  most  enduring 


107  a  CULLUM  COLLECTION. 

impression  upon  Athenian  art.  Athene  being  the  tutelary 
genius  of  Athens,  all  the  glory  of  the  city  was  attributed  to 
her,  all  its  splendors  were  laid  at  her  feet.  On  the  chief  day 
of  the  feast  that  world-renowned  procession  assembled,  to 
whose  delineation  the  entire  cella-frieze  of  the  Parthenon  was 
devoted.  As  we  there  behold  still,  this  procession  was  organ- 
ized to  conduct  and  present  to  the  goddess  the  victors  in  the 
games  held  in  her  honor ;  to  parade  the  gifts  of  cows  presented 
by  the  Athenians  and  lead  them  to  her  altar  of  sacrifice ;  to 
convey  to  the  same  destination  the  gifts  of  oxen  and  sheep 
presented  by  the  several  Athenian  colonies ;  but,  principally, 
to  display  to  all  the  citizens  of  Athens  and  to  carry  up  to  the 
shrine  of  Athene  Polias  that  sacred  peplos  at  the  hands  of 
Arrephoric  maidens — newly  woven  and  beautifully  embroid- 
ered with  scenes  from  the  contests  of  the  gods  and  giants,  or 
aristeia,  in  which  Athene  herself  had  gained  signal  success 
and  undying  renown — for  the  renewal  of  the  robe  draping  her 
ancient  statue.  In  order  most  conspicuously  and  appropri- 
ately to  exhibit  this  sacred  peplos  to  a  multitude  that  had 
become  a  sea-faring  community,  it  was  suspended  by  the  yards 
on  the  mast  of  a  real  ship,  in  the  place  of  its  sail,  and  then  the 
large  and  most  elegant  vessel  was  floated  along  upon  wheels, 
moved  by  means  of  concealed  machinery,  through  the  streets 
of  the  city  up  to  the  site  of  her  temple,  where  at  last  the  goodly 
raiment  was  taken  down,  folded,  and  reverently  borne  into  the 
presence  of  the  divinity. 

25.   August. 

The  Zodiacal  Constellation  Virgo  is  represented  by  the  fangj 
maiden  immediately  to  the  right  of  Leo  and  Seirios,  fully 
draped,  turbaned,  winged,  barely  touching  the  earth  and  with 
skirt  flying,  as  if  a  Nike  alighting,  to  bring  and  present  to 
human  kind  a  tray  of  summer  fruits,  among  which  the  fig  is 
readily  distinguishable.  To  our  own  day  the  Virgin  in 
the  heavens  is  endowed  with  wings. 

The  Month  Metageitnion  is  personified  by  a  veteran 
completely  bound  up  in  the  folds  of  his  himation. 

The  Midsummer  Festival  of  the  Herakleia  follows,  symbol- ■• 
ized  by  a  portrait  of  Herakles,  nude,  his  only  robe  being  hung 
across  his  left  lower  arm,  the  hand  of  which  grasps  a  heavy, 
knotted  club. 

Next  beside  him  stands  a  matronly  personage  of  gentle  expres- 
sion, possessing  every  attribute  of  the  goddess  Demeter — the 
full  attire,  the  narrow  taenia  binding  her  hair,  the  heads  of  grain 


GR^CO-ROMAN  SECTION— HALL  8.  107  H 

in  her  left  hand,  and  a  winnowing-shovel  in  her  right:  beyond 
a  doubt  she  expresses  the  harvest-festival  sometimes  called 
Aloa,  at  other  times  styled  Thalysia,  held  at  Athens  and 
Eleusis,  in  honor  of  Demeter  as  protector  of  the  fruits  of  the 
earth  and  in  thanksgiving  for  the  benefits  she  conferred  upon 
men. 

26.  September. 

The  Zodiacal  Constellation  Libra  cannot  be  expected  to 
appear  in  this  series  under  the  device  of  a  Balance,  from  the 
fact  that  the  Zugos,  '  Yoke '  or  4  Beam '  of  the  balance  is  a  late 
invention  and  substitute,  first  thought  of  about  b.  c.  80,  and 
not  adopted  into  general  use  until  after  the  era  of  the  astron- 
omer Ptolemy.  Prior  to  this  time  the  constellation  was  known 
under  the  name  of  Chelai,  or  '  The  Claws,'  that  is  to  say,  of 
the  Scorpion — the  constellation  following  next  in  order  in  the 
Zodiac.  Accordingly,  the  seventh  Zodiacal  emblem  in  the 
pictorial  calendar  before  us,  is  an  outline-imitation  of  the 
Claws,  thrown  into  the  upper  right  hand  corner  of  the  field 
allotted  to  this  month;  and  this  earliest  symbol  serves  as  an 
indication  for  the  date  of  the  Frieze.  Even  down  to  our  own 
day  the  Scales  of  the  Balance,  or  of  Libra,  overlie  the  Claws 
of  the  Scorpion,  in  the  nocturnal  heavens. 

The  group  of  a  Rider  upon  a  prancing  Horse — doubtless  a 
Victor  in  some  horse-race — denotes  graphically  the  Festival 
characteristic  of  the  month. 

27.  October. 

The  Zodiacal  Constellation  Scorpio  is  represented  realistic- 
ally by  the  object  itself,  just  as  we  continue  to  sketch  it  among 
the  stars. 

The  Month  Pyanepsion  is  personified  by  another  elderly 
yeoman  in  full-dress  himation. 

The  figure  next  following  depicts  the  Eiresione,  or  Sacred 
Branch  of  the  olive-tree  hung  with  figs  and  other  produce  of 
autumn,  also  with  cakes,  pots  of  honey  and  milk,  etc. ,  which 
a  lad  carried  over  his  shoulder  in  the  procession  of  the  Festival 
Pyanepsia — another  harvest-feast  in  part  commemorative  of  the 
expedition  by  Theseus  to  Krete,  but  in  greater  part  honorary 
to  Apollo. 

In  advance  of  the  boy,  a  naked  youth,  holding  aloft  his 
right  arm,  stands  as  a  type  of  the  Festival  Oschophoria,  in 
which  a  procession  started  from  the  Temple  of  Dionysos  at 
Limnai  and  passed  through  the  city,  made  up  of  young  men 
chosen  from  the  service,  who  bore  grapes  in  their  hands  and 


107i  CULLUM   COLLECTION. 

chanted  folk-songs  as  they  marched,  A  race  also  came  off,, 
beginning  at  the  Temple  of  Dionysos  and  ending  with  that  of 
Athene  Skiras  at  Phaleron,  run  by  youths  bearing  branches  of 
the  vine  regarded  as  gifts  from  the  god  of  Wine  to  the  goddess 
of  Oil.  At  the  end  of  the  race  the  mothers  of  the  competitors 
met  them  with  food.  And  in  this  Frieze-relief,  the  youth 
holding  aloft  his  right  arm  as  a  Victor  carries  in  his  left  hand 
a  branch  of  the  vine  yielding  three  rich  clusters  of  grapes,  and 
by  his  left  foot  treads  upon  a  huge  heap  of  olives ;  at  the  same 
time,  having  reached  the  end  of  his  course  in  triumph,  he  is 
met  by  his  mother  bearing  upon  her  head  a  vessel  of  food. 

Obviously,  the  saltant  Merrymaker  on  the  right  of  the 
Scorpion,  betokens  some  Festival  in  which  dancing  played  a 
prominent  part. 

28.  November. 

The  Zodiacal  Constellation  Sagittarius  is  represented,  on  the 
right  in  the  group,  by  a  Centaur,  springing,  his  raiment  of  a 
lion's  (?)  pelt' flying,  shooting  an  arrow  from  his  bow. 

The  Month  Maimakterion  is  personified,  on  the  left  in  the 
group,  by  the  same  type  of  manhood  as  the  four  preceding — a 
sturdy  masculine  form  protected  throughout  by  his  mantle. 

Before  him  one  of  the  labors  of  the  season,  Plowing,  is 
enacted  by  a  gigantic  plowman  (the  hero  Bouzyges  ?)  driving 
,an  inversely  proportionate  Yoke  of  oxen.  A  trace  of  the 
plow,  perhaps,  survives  just  back  of  his  right  foot. 

Following  the  plowman  and  plowing  naturally  succeeds 
another  labor  of  the  season,  Sowing,  portrayed  by  a  workman 
of  similar  heroic  stature,  holding  a  vTicker-work  basket  of  seed 
on  his  left  arm,  and  scattering  the  grain  by  his  right  hand  out- 
stretched. 

29.  December. 

The  Zodiacal  Constellation  Capricorn  is  represented  by  a 
monster  combining  the  fore-parts  of  a  chamois-goat  with  the 
hind-part  of  a  Dolphin  or  a  Whale. 

The  Month  Poseidon  is  personified,  as  so  often  already,  by 
a  man  of  years,  bearded,  and  drawing  his  himation  closely 
about  him,  now,  to  shut  out  the  cold  of  winter. 

Between  the  8th  and  the  nth  of  this  month  the  Festival  of 
the  Lesser  Dionysia  was  held,  under  the  presidency  of  the 
demarchos.  To  this  our  Pictorial  Calendar  ought  to  allude; 
and  if  it  does  so,  it  presents  ias  with  a  composition  of  a  god- 
dess, or  a  priestess,  or  some  one  analogous  to  the  daughter  of 
Dikaiopolis,  warmly  clothed,  patronizing  three  judges  (athlo- 


GPLfECO-ROMAN  SECTION— HALL  8.  107  J 

thetai)  sitting  at  a  stand  loaded  with  five  prizes  or  crowns: 
below,  a  cock-fight  is  in  progress,  strange  to  say,  proceeding 
upon  a  palm-branch. 
30.   January. 

The  Zodiacal  Constellation  Aquarius  or  Water-pourer  may 
be  represented  by  the  figure  on  the  extreme  right  or  last  in  the 
series,  half  obliterated. 

The  Month  Gamelion  is  personified  by  the  figure,  standing 
alone,  in  all  respects  like  his  forerunners,  aged,  bearded,  and 
closely  habited  by  his  clothing. 

The  Festival  of  this  month  was  the  Dionysiac  Lenaia;  and 
this  seems  to  be  appropriately  expressed  by  the  group  of  a 
run-away  horse  carrying  upon  his  back  a  bacchanal  intoxicated, 
and  flourishing  in  his  left  hand  a  wreath  of  ivy  and  a  thyrsus. 

Unfortunately,  the  remainder  of  this  Frieze,  emblematic  of 
the  Constellation  Pisces,  and  the  month  Anthesterion,  was  not, 
in  early  times,  transferred  to  the  present  place  of  safety  for  the 
greater  part  of  the  monument,  and,  accordingly,  is  lost. 

Second  Century,  B.  C. 
Marble. 

Built  into  a  wall  of  the  old  Metropolitan  church  Panagia 
Gorgopiho,  Athens. 

31.     Inscription  in  Greek. 

Public  Notice  forbidding  Gentiles  to  pass  from  the 
Court  into  the  Sanctuary  or  sacred  precincts 
of  the  Temple  reserved  to  Hebrews  alone. 

Translated,  the  Inscription  reads:  "No  one  of  alien  race  may 
enter  within  the  Balustrade  and  Peribolos  around  the  Sanc- 
tuary;  and  whosoever  is  detected  in  doing  so  will  have  to 
answer  to  himself  for  the  penalty  of  death  that  follows." 

The  Temple  of  Herod  had  a  sacred  inner  court,  about  five 
hundred  cubits  square,  surrounded  by  a  low  railing,  called 
soreg,  within  which  only  Hebrews  were  permitted  to  go  and 
upon  which  at  intervals  stelae  were  set  up  warning  all  others 
to  pass  no  further— of  these  the  stone  of  this  inscription  was 
one. 

In  his  Antiquities,  Josephus  alludes  to  this  decree,  as 
follows : 

"  Thus  was  the  first  Peribolos.  In  the  midst  of  which,  and 
not  far  from  it,  was  the  second,  to  be  gone  up  to  by  a  few 


107  K  CULLUM  COLLECTION. 

steps:  this  was  encompassed  by  a  stone  wall  for  a  partition, 
with  an  Inscription,  which  forbade  any  foreigner  to  go  in, 
under  pain  of  death.  Now  this  inner  Peribolos  had  on  its 
southern  and  northern  quarters  three  gates  equally  distant  one 
from  another,  etc."    A.  J.,  XV.  xi.  5. 

Also,  in  his  Wars : 

44  When  you  go- through  these  first  cloisters  unto  the  second 
court  of  the  Temple,  there  was  a  Balustrade  made  of  stone  all 
round,  whose  height  was  three  cubits:  its  construction  was 
very  elegant.  Upon  it  stood  pillars  at  equal  distances  one 
from  another,  declaring  the  laws  of  purity,  some  in  Greek,  and 
some  in  Roman  letters,  that  'no  foreigner  should  go  within 
that  Sanctuary';  for  that  second  court  of  the  temple  was 
called  '  The  Sanctuary,'  and  it  was  ascended  to  by  fourteen 
[four  ?]  steps  from  the  first  court.  This  court  was  four-square, 
and  had  a  wall  about  it  peculiar  to  itself."    B.  J.,  V.  v.  2. 

This  stone  with  its  Inscription  strikingly  confirms  the 
accuracy  of  Josephus  as  a  reporter.  In  Greek  the  Inscription 
reads,  for  44No  one  of  alien  race,"  fiijdeva  hXkvytvfj,  and 
Josephus  lit)  delv  aXXdtyvlov,  its  exact  equivalent.  The 
Inscription  refers  to  the  Balustrade  TpixpanTo;  around  the  Sanc- 
tuary to  lepov,  and  Josephus  writes  of  a  Spixpanroq  made  of  stone 
all  round  the  Sanctuary — the  terms  being  precisely  the  same, 
and  the  slight  variation  in  spelling  indicating  a  fault  of 
_  pronunciation  among  the  Jews  speaking  Greek  at  Jerusalem. 
The  term  izepifiolog,  Peribolos,  is  common  to  both  Inscription 
and  Josephus. 

This  Balustrade  formed  "that  middle  wall  of  partition" 
which  separated  the  Gentile  from  the  Jew  in  the  visible 
Temple  of  the  true  God  on  earth,  and  as  such  was  the  symbol 
of  that  spiritual  barrier,  by  which  hitherto  through  long  ages 
they  had  been  separated  in  religious  faith,  and  which  was 
broken  down  by  the  sacrifice  of  Christ. 

The  apostle  Paul  must  have  seen  this  very  Inscription  often, 
in  his  visits  to  the  Temple;  and  it  was  an  alleged  infraction  of 
this  regulation  which  led  to  the  uproar  among  the  Jews 
described  in  Acts,  xxi,  30  onward.  They  imagined  that  the 
apostle  had  taken  one  Trophimus,  an  Ephesian  Gentile,  with 
him  beyond  the  Balustrade  into  the  inmost  Sanctuary,  and 
they  were  enraged  to  the  verge  of  madness.  As  they  were 
about  to  kill  him  he  was  rescued  by  the  chief  captain,  the 
Roman  Claudius  Lysias,  and  his  life  saved  by  confinement  in 
the  Castle  of  Antonia  at  the  north-west  corner  of  the  Temple- 
area.     These  charges  ended  only  with  his  appeal  to  Csesar, 


GR^CO-ROMAN  SECTION— HALL  8.  107  l 

his  voyage  to  Rome,  and  his  acquittal  before  the  emperor 
Nero. 

Rabbinic  authors  relate  how  certain  Levites  were  employed, 
under  the  chief  custodian  of  the  Temple,  to  go  the  rounds  of 
this  central  Sanctuary,  with  clubs  in  their  hands  for  the  pur- 
pose of  dashing  out  the  brains  of  any  profane  intruder  they 
might  detect. 

B.  C  37  to  6g  A.  D. 

Local  calcareous  Stone. 

Temple  of  Herod,  at  Jerusalem. 

Museum  Tschinili-kirschk,  Constantinople. 


32.     Low-relief  :   a  Panel   from   ceiling-decora- 
tion. 
Archaistic  Victory,  alighting  and  bearing  a  crested 
Helmet  in  her  Hands. 

Seleukos,  a  Grecian  decorator  in  Italy. 

Era  of  the  Emperor  Augustus,  B.  C.  27  to  14  A.  D. 

Stucco. 

Found,  in  the  year  1878,  when  excavating  the  ruins  of  a  Villa 
which  in  ancient  times  stood  on  the  bank  of  the  tlber 
within  the  limits  of  the  farnesina  gardens. 

Museo  Nazionale  Romano,  Rome.    • 


33.     Low-relief  :   a  Panel   from   ceiling-decora- 
tion. 

Archaistic  Nike,  poised  upon  the  rim  of  a  campan- 
ulate  flower. 

Seleukos,  a  Grecian  decorator  in  Italy. 

Era  of  the  Emperor  Augustus,  B.  C.  27  to  14  A.  D. 

Stucco. 

Found,  in  the  year  1878,  when  excavating  the  ruins  of  a  Villa, 
which  stood,  in  ancient  times,  on  the  bank  of  the  tlber 
within  the  limits  of  the  farnesina  gardens. 

Museo  Nazionale  Romano,  Rome. 


108  CULLUM  COLLECTION. 

34.  Hollow-relief  :   with  Greek  Inscription. 
Votive   Offering    to   Zeus   Hypseistos   (Most   High), 

for  the  healing  of  Eyes. 

Inscription  executed  in  the  style  of  the  Roman  Era. 
Pentelic  Marble. 

Found  beneath  Northern  Declivity  of  Akropolis,  at  Athens. 
Museum  of  Berlin. 

35.  Relief  :  with  Greek  Inscription. 

Votive   Offering  to    Zeus    Hypseistos   (Most   High), 

for  the  healing  of  a  left  Breast. 
Inscription  executed  in  the  Second  Century,  B.  C. 
Pentelic  Marble. 

Found  beneath  Northern  Declivity  of  Akropolis,  at  Athens. 
Museum  of  Berlin. 

36.  High-relief  :    end  of   a   sepulchral  Altar. 
Shepherd  and  Shepherdess  accessory  to  a  Goat  giving 

suck  to  her  Kid. 

The  face  of  this  altar  is  decorated  with  a  Visit  of  the  god 
Dionysos  to  Ikarios  with  his  daughter  Erigone. 
Marble. 
Found,  in  the  course  of  excavations  within  the  Villa  Negroni, 

on  the  esquiline  hlll,  at  rome. 
Museum  of  the  Vatican  (Hall  of  Animals),  Rome. 

37.  Relief. 

Nike,  winged,  immolating  a  Bull. 

Terra-cotta. 

British  Museum,  London. 

38.  Bust,  with  traces  of  I  nscription  :  one-half  size. 
Portrait  of  Sophokles,  tragic  poet  of  Athens,  wearing 

the  fillet  of  Victory. 
A  Grecian  Sculptor  in  Italy. 
During  the  early  years  of  the  Empire. 
Marble. 
Found,  in  the  year  1778,  in  the  garden  of  the  Conservatorio 

dei  mendicanti,  in  the  rear  of  the  basilica  of  the  emperor 

Constantine,  at  Rome. 
Museum  of  the  Vatican  (Sala  delle  Muse),  Rome. 


ROMAN    SECTION, 

Hall   8. 

Group. 

Subject:  Two,  of  four,  Horses. 

Artist:    Unknown. 

Date  of  Execution:    Unknown. 

Material  of  Monument :   Bronze. 

Original  Station:    Crown  of  some  Roman  Triumphal  Arch  ? 

Removed  to  Constantinople:   brought  back  to  Venice. 
Place  of  Exhibition  To-day:  Above  the  Central  Portal  of 

San  Marco,  Venice. 

Statue. 
Portrait  of  the  Emperor  Augustus,  robed  in  the  Toga 

for  appearance  in  the  Senate. 
A  Roman  Sculptor. 

Soon  after  the  beginning  of  the  Christian  Era. 
Marble. 
Museum  of  the  Louvre,  Paris. 

Statue. 

Portrait,    of    Agrippina    the    Elder    (?),    or     of    an 
unknown  Patrician  Lady. 

A  Roman  Sculptor,  who  adapted  an  antique  conven- 
tional form  to  his  Subject. 

Date  of  Execution :  For  the  Portrait— Middle  of  the 
Second  Century,  A.  D. 
For  the  Grecian   Figure— Era,    of    Alexander    the 
Great  or  of  his  Successors. 

Marble. 

Museum  of  the  Capitol  {Hall  of  the  Emperors),  Rome. 

Statue.     (Hall  ii  :    Hellenic  Section.) 
Goddess  Aphrodite,  holding  a  Shield. 

An  Imitator  of  the  Melian  Type. 

Early  in  the  Era  of  the  Roman  Empire — middle  of  the  First 

Century,  A.  D. 
Grecian  Marble. 
Found,  about  the  middle  of  the  Eighteenth  Century,  amidst 

the  ruins  of  the  amphitheatre  at  capua. 
Museum  of  Naples. 

(109) 


109  a   '  CULLUM  COLLECTION. 

5.  Statue.     (Hall  ii  :  Hellenic  Section.) 
Nike,  goddess  of  Victory,  in  the  guise  of  Aphrodite. 
Latter  half  of  the  First  Century,  A.  D. 

Bronze,  exclusive  of  the   Helmet  and   Plinth  which  may  have 

been  of  Marble. 
Found,  in  July,  1826,  near  the  site  of  a  Temple  built  by  the 

Emperor  Vespasian  at  Brescia,  in  Italy. 
Museo  Patrio,  Brescia. 

6.  Relief.     (Hall  ii  :  Hellenic  Section.) 
Goddess  Nike,  inscribing  the  Deeds  of  the  Emperor 

Trajan  on  her  Shield.  : 

Executed  under  the   direction    of    Apollodoros,    a 

Grecian  Architect. 
During  the  Reign  of  the  Emperor  Trajan,  113  A.  D. 
Parian  Marble. 
Column  of  Trajan,  at  Rome. 
In  its  original  place,  upon  the  Monument. 


High-relief. 

Triumphal  Procession  bearing  the  Golden  Candle- 
stick and  Table  of  Shew-bread,  taken  from  the 
Temple  at  Jerusalem. 

A  Roman  Sculptor. 

Soon  after  the  death  of  the  Emperor  Titus,  in  81  A.  D. 
Pentelic  Marble. 

Inner  Wall  of  the  Arch  of  Titus,  at  the  foot  of  the  Palatine 
Hill,  in  Rome. 


8.     Statue. 

Portrait  of  a  Patrician  Maiden. 

A  Roman  Sculptor.     Second  Century,  A.  D. 

Marble. 

Found  in  Rome. 

Museum  of  the  Louvre,  Paris. 


ROMAN  SECTION— fiALL  8.  109  b 

9.     Statue. 

Satyr,  of  the  Vintage. 

A   Sculptor   who  flourished   in   the     reign    of    the 

Emperor  Hadrian.     Between  118  and  138  A.  D. 
Rosso  antico  Marble. 
Found,  in  the  year  1736,  on  the  site  of    the   Villa  of    the 

Emperor  Hadrian,  near  Tivoll 
Museum  of  the  Capitol  {Hall  of  the  Faun),  Rome. 

10.  Statue. 

Antinous,  as  Hermes  dolios :  or,  Narkissos  ? 

A  Roman  Sculptor  contemporary  with  the  Emperor 

Hadrian. 
Toward  the  middle  of  the  Second  Century,  A.  D. 
Carrara  Marble. 
Found,   in  the    year  1738,  on  the  site  of  the  Villa    of  the 

Emperor  Hadrian,  at  Tivoll 
Museum  of  the  Capitol  {Hall  of  the  Dying  Galatian),  Rome. 

11.  High-relief  :  colossal. 
Portrait  of  Antinous. 

A  Sculptor  who  flourished  in  the  Era  of  the  Roman 

Renaissance. 
Reign  of  the  Emperor  Hadrian,  117  to  138  A.  D. 
Marble. 
Found,  about  the  year  1735,  on  the  site  of  Hadrian's  Vill^ 

at  Tivoll 
Collection  of  the  Villa  Albania  Rome. 

12.  Relief  :  a  Votive  Stela. 

Hermes,  messenger  of  the  gods,    in   charge    of  the 

Infant  -Dionysos. 
An  Imitator  of  the  Statue  by  Praxiteles. 
Roman  Epoch. 
Reddish  Sandstone. 

Found,  in  the  year  1767,  at  Godramstein  near  Landau. 
Antiquarium  of  Mannheim. 


110  CULlSUM  COLLECTION. 

13.  Cameo-relief. 

Emperor  Augustus,  enthroned  as  Jupiter  beside 
Roma  deified,  and  crowned  by  Livia  as 
Kybele  (?),  in  the  presence  of  the  victorious 
Tiberius  and  the  youth  Germanicus. 

Onyx. 

Imperial  Museum,  Vienna. 

14.  Cameo-relief. 

Emperor  Tiberius,  enthroned  as  Jupiter,  and 
accompanied  by  his  Family  also  with  divine 
attributes. 

Sardonyx,  of  three  layers. 
Bibliotheque  Nationale,  Paris. 

15.  Relief. 
Offering  of  a  Goat. 
Museum  of  the  Vatican,  Rome. 

16.  Statue  :  half  length. 

Portrait  of  a  Vestalis  Maxima,  wearing  the  suffi- 
bulum. 

Era  of  the  Emperor  L.  Septimius  Severus,  193-2 11  A.  D.  ? 

Marble. 

Found,  in  the  winter  of  1 883-1 884,  during  the  course  of  exca- 
vations UPON  THE  SITE  OF  THE  ATRIUM  VESTiE,  AT  THE  FOOT  OF 

the  Palatine  Hill,  in  Rome. 
Museo  Nazionale  Romano,  Rome, 


COLLECTION 

OF 

BRONZE-REPRODUCTIONS 
FROM    ORIGINALS    IN    BRONZE 

RECOVERED  AT  HERCULANEUM   FROM  A  VILLA  BURIED 

IN  THE  YEAR  79  A.  D.,  BY  AN  ERUPTION 

OF  MOUNT  VESUVIUS 


OIOa) 


GRECIAN    SECTION, 

Hall    11 


Bust,  apart  from  its  Statue. 

Subject:  Apollo,  god  of  Music  and  Song,  of 
Prophecy,  and  of  Archery. 

Artist:  A  Sculptor  belonging  to  a  Doric  or  Pelo- 
ponnesian  School. 

Date  of  Execution:  Early  part  of  the  Fifth  Century,  B.  C. 

Material  of  Monument :  B  ro  nze. 

Station:  Found,  April  28,  1756,  between  the  Tablinum  and 
the  Garden  of  the  Villa  (at  the  point  indicated  by  12  on 
the  Plan  of  the  Excavated  Portion,  mounted  in  Gilt 
Frame  and  hung  beneath  Glass  case  containing  Smaller 
Bronzes). 

Place  of  Exhibition  To-day  :  National  Museum,  Naples. 

Bust,  squared  at  the  base  for  resting  upon 

an  hermes  :  with  greek  inscription. 
Doryphoros  :  *  Spear-bearer.' 

Artist  of  Original:  Polykleitos. 

Of  Copy:  " Apollonios,  son  of  Archias,  of  Athens. 

Date  of  Execution  of  Original:  Middle  of  the  Fifth 
Century,  B.  C. 
Of  Copy :    Latter  part  of  the  First  Century,  B.  C. 

Bronze,  both  Original  and  Reproduction. 

Found,  May  28,  1753,  at  one  corner  of  the  Peristyle  surround- 
ing the  Court  of  the  Villa  (indicated  by  13  on  the  Plan). 

National  Museum,  Naples. 

(110  c) 


110  d  COLLECTION  OF  BRONZE-REPRODUCTIONS. 

3.  Bust,  adapted  at  base  to  be  borne  upon  an 

HERMES. 
Amazon. 

Artist  of  original  Statue ;  Pheidias  ? 
Middle  of  the  Fifth  Century,  B.  C. 

Replica  in  Bronze,  of  an  Original  probably  also  in  Bronze. 
Found,  August  17,  1753,  at  one  corner  of  the  Peristyle  sur_] 

rounding  the- Court  of  the  Villa  (at  the  angle  shown  by 

14  on  the  Plan). 
National  Museum,  Naples. 

4.  Bust,  taken  from  a  Statue. 

Dionysos  pogonites,  elderly,  bearded,  and  completely 

clothed. 
A  Sculptor  belonging  to  one  of  the  Peloponnesian 

Schools. 
Soon  after  the  middle  of  the  Fifth  Century,  B.  C. 
Bronze. 
Found,  April  18,  1759,  near  the  Tablinum  of  the  Villa  (at  the, 

site  represented  by  l6  on  the  plan). 
National  Museum ,  Naples. 

5.  Bust,  removed,  apparently^  from  its  Statue.J 
Athlete,  at  rest. 

A  Master  in  the  style  of  Polykleitos. 

Latter  part  of  the  Fifth  Century,  B.  C. 

Bronze. 

Found,  April  18,  1759,  IN  THE  Garden  of  the  Villa  (or,  more' 

PRECISELY,  AT  SITE  1 5  ON  THE  PLAN). 

National  Museum,  Naples. 

6.  Statue. 

Lacedaemonian  (?)  Dancing-girl,  standing  still,  rais- 
ing her  right  hand  high  above  the  head,  and 
lifting  by  the  left  hand  a  fold  of  her  chiton. 

Kallimachos  ?     End  of  the  Fifth  Century,  B.  C. 

Bronze. 

Found,  May  26,  1754,  within  the  Peristyle  surrounding  the 
Garden  of  the  Villa  (near  the  column  designated  by  4  on 
the  Plan). 

National  Museum,  Naples. 


GRECIAN  SECTION— HALL  11.  110  e 

Statue. 

Lacedaemonian  (?)  Dancing-girl,  approaching,  her 
right  hand  perched  upon  the  hip,  and  her  left 
extended  in  a  gesture  of  invitation. 

Kallimachos  ?     End  of  the  Fifth  Century,  B.  C. 

Bronze. 

Found,  April  15,  1754,  within  the  Peristyle  surrounding  the 

Garden   of  the  Villa  (opposite  the   column  identified  by 

5  on  the  Plan). 
National  Museum,  Naples. 

Statue. 
Lacedaemonian  (?)   Dancing-girl,   slowly  advancing, 

and  raising  the  lower  edge  of  her  mantle  from 

behind. 

Kallimachos  ?     End  of  the  Fifth  Century,  B.  C. 

Bronze. 

Found,  June  23,  1754,  within  the  Peristyle  surrounding  the 
Garden  of  the  Villa  (over  against  the  column  dis- 
tinguished by  3  on  the  Plan). 

National  Museum,  Naples. 

Statue. 

Lacedaemonian  (?)  Dancing-girl,  executing  a  move- 
ment of  the  cheironomia. 

Kallimachos  ?     End  of  the  Fifth  Century,  B.  C. 

Bronze. 

Found,  July  21,  1754,  within  the  Peristyle  surrounding  the 
Garden  of  the  Villa  (facing  the  column  defined  by  2  on 
the  Plan). 

National  Museum,  Naples. 
Statue. 

Lacedaemonian  (?)  Dancing-girl,  at  rest,  adjusting  or 
fastening  her  chiton  over  the  right  shoulder  by 
a  brooch. 

Kallimachos?     End  of  the  Fifth  Century,  B.  C. 

Bronze 

Found,  October  19,  1756,  in  the  Garden  of  the  Villa  (or,  more 
closely,  between  the  peristyle  and  the  plscina,  at  the  site 
bearing  the  figure  i  on  the  plan). 

National  Museum,  Naples. 


110  F  COLLECTION  OF  BRONZE-REPRODUCTIONS. 

II.     Statue. 

Lacedaemonian    (?)   Maiden     stretching    her    hands 

forward   as   if  in   prayer,  or   offering   gifts   at   a 

sacrifice. 
Kallimachos?     End  of  the  Fifth  Century,  B.  C. 
Bronze. 
Found,  October  22,  1754,  in  the  Garden  of  the  Villa  (at  the 

extreme  corner-situation  laid  down  by  6  on  the  plan). 
National  Museum,  Naples. 


12.  Bust,  cut  from  a  Statue. 

Portrait  of  Sappho  (?)  of  Mytilene:  lyric  poet  of  the 

/Eolian  School. 
A  Follower  of  Pheidias?     Fourth  Century,  B.  C.  ? 
Bronze. 
Found,  August  23,  1758,  in  the  Garden  of  the  Villa,  close  by 

the  Lacedemonian  Maiden  (site  number  17  on  the  Plan). 
National  Museum,  Naples. 

13.  Bust,  detached  from  a  Statue  ? 
Ephebos,  or  Diskobolos. 

An  Imitator  of  Lysippos. 

Latter  part  of  the  Fourth  Century,  B.  C. 

Replica  in  Bronze,  from  a  still  earlier  Original  in  Marble? 

Found,  April  10,  1754,  in  the  Tablinum  of  the  Villa  (site  19  on 

the  Plan). 
National  Museum,  Naples. 

14.  Statue  :  looking  toward  the  right. 
Wrestler,  stooping  to  grapple  with  his  opponent. 
Fourth  Century,  B.  C. 
Bronze. 
Found,  July  7,  1754,  in  the  Garden  of  the  Villa,  between  the* 

Peristyle  and  the  farther  end  of  the  Piscina  (site  8  on 
the  Plan). 
National  Museum^  Naples. 


GRECIAN  SECTION— HALL  11.  Ill 

15.  Statue  :  looking  toward  the  left. 
Wrestler,  stooping  to  engage  with  his  antagonist. 
Fourth  Century,  B.  C. 

Bronze. 

Found,  October  i,  1754,  in  the  Garden  of  the  Villa,  between 

the  Peristyle  and  the  farther  end  of  the  Piscina  (site  9 

on  the  Plan).  , 

■   National  Museum,  Naples. 

16.  Statue. 

Hermes,  messenger  of  the  gods,  at  rest. 

LYSIPPOS    (?),  OR,  ONE  OF  THE  PUPILS  OF  THIS  MASTER. 

Last  quarter  of  the  Fourth  Century,  B.  C. 

Bronze. 

Found,  August  3,   1758,  in  the  Garden  of  the  Villa,  at  the 

farther  end  of  the  Piscina  (site  7  on  the  plan). 
National  Museum,  Naples. 

17.  Bust. 

Artemis  agrotera,  goddess  of  the  Chase. 

Last  half  of  the  Fourth  Century,  B.  C. 

Bronze.  - 

Found,  April  29,  1756,  in  the  Garden  of  the  Villa,  between  the 

Peristyle  and  the  Piscina  at  its  end  nearest  the  Entrance 

(site  18  on  the  Plan). 
National  Museum,  Naples. 

18.  Statue. 

Satyr,  inebriate,  displaying  neck-glands  and  budding 
horns,  crowned  with  ivy-fruit,  half  reclining  on 
a  lion's  pelt,  leaning  his  left  elbow  upon  a 
leathern  wine-bottle  almost  empty,  and  raising 
his  right  arm  in  the  act  of  snapping  his  fingers. 

An  Hellenistic  Sculptor.     Third  Century,  B.  C. 

Bronze. 

Found,  July  13,  1754,  in  the  Garden  of  the  Villa,  off  the 
farther  end  of  the  Piscina  (site  10  on  the  Plan). 

National  Museum,  Naples. 


Ill  a  COLLECTION  OF  BRONZE-REPKODUCTIONS. 

19.     Statue. 

Satyr,  characterized  by  capric  glands  and  horns, 
though  sitting  nearly  upright  sleeping  and  keep- 
ing his  right  arm  bent  over  the  head  drooping 
toward  the  left. 

An  Alexandrian  (?)  Master  in  the  working  of  metal. 

Latter  part  of  the  Third  Century,  B.  C. 

Bronze. 

Found,  March  6,  1756,  in  the  Garden  of  the  Villa,  at  the  end 
of  the  Piscina  nearest  the  Entrance  (site  ii  on  the  Plan). 

National  Museum,  Naples. 


20.     Bust. 

Portrait  of  Herakleitos  (?),  of  Ephesos :  philosopher  of 

the  Ionian  School. 
Bronze. 
Found,  November  16,  1753,  at  one  corner  of  the  Peristyle  sur 

rounding  the  court  of  the  vllla  (site  21  on  the  plan). 
National  Museum,  Naples. 


21.     Bust. 

Portrait  of  Demokritos  (?),  of  Abdera:  philosopher. 

Bronze. 

Found,  April   17,  1754,  within  the  Peristyle  of  the   Court, 

against  a  column,  and  facing  toward  the  atrium  (site  22  on 

the  Plan). 
National  Museum,  Naples. 


22.     Bust. 

Portrait  of  Archytos  (?),  of  Tarentum :  philosopher  of 
the  Pythagorean  School,  statesman,  and  military 
general. 

Bronze. 

Found,  November  6,  1753,  at  one  corner  of  the  Peristyle  sur- 
rounding the  Court  of  the  Villa  (site  20  on  the  Plan). 
National  Museum,  Naples. 


GRECIAN  SECTION— HALL  11.  111b 

23.     Bust,  with  Greek  Inscription  :  one-quarter 
size. 
Portrait  of  Demosthenes,  of  Athens :  statesman  and 

orator. 
Bronze. 
Found,  November  3,  1753,  in  an  apartment  to  the  right  of  the 

Tablinum  (site  34  on  the  Plan). 
National  Museum,  Naples. 


24.     Bust  :  one-half  size. 

Portrait  of  Demosthenes,  of  Athens:  statesman  and 
orator. 

Bronze. 

Found,  about  the  middle  of  October,  1753,  in  the  Tablinum  of 

the  Villa  (site  28  on  the  Plan). 
National  Museum,  Naples. 


25.     Bust,    with    Greek    Inscription  :   one-third 
size. 
Portrait    of    Epikouros,   of    Athens  :  founder  of  an 
independent  school  in  philosophy. 

Bronze. 

Found,  November  4,  1753,  in  an  apartment  to  the  right  of  the 

Tablinum  (site  38  on  the  Plan). 
National  Museum,  Naples. 


26.     Bust  :  one-third  size. 

Portrait   of  Epikouros,   of    Athens :    founder    of  the 
Epicurean  School  in  philosophy. 

Bronze. 

Found,  June  15  (?),  1753,  in  an  apartment  of  the  Villa  to'the 

right  of  the  Atrium  and  Peristyle  (site  39  ?  on  the  Plan). 
National  Museum,  Naples. 


112  COLLECTION  OF  BRONZE-REPRODUCTIONS. 

27.  Bust  :  one-quarter  size. 

Portrait  of  Metrodoros  (?),  of  Athens  :  philosopher  of 
the  Epicurean  School. 

Bronze. 

Found,  June  15,  1753,  to  the  left  of  the  Tablinum  of  the  Villa 

(at  or  near  site  36?  on  the  plan). 
National  fifuseum,  Naples. 

28.  Head. 

Portrait  of  Philetas  (?),  of  Kos:  grammarian,  philoso- 
pher, and  elegiac  poet. 

A  Master  in  Hellenistic  realism. 

Third  Century,  B.  C. 

Bronze. 

Found.  September  27,  1754,  in  the  Garden  of  the  Villa,  between 

the  Peristyle  and  the  farther  left  hand  corner  of  the 

Piscina  (site  30  on  the  plan). 
National  Museum,  Naples. 

29.  Bust,    with    Greek    Inscription  :    one-third 

size. 

Portrait  of  Hermarchos,  of  Athens :  rhetorician  and 
philosopher. 

Bronze. 

Found,  November  4,  1753,  in  an  apartment  to  the  right  of  the 

Tablinum  (site  40  on  the  plan). 
National  Museum,  Naples. 

30.  Bust. 

Portrait  of  Ptolemy  I.  Soter  (?),  wearing  a  diadem  ? 

Bronze. 

Found,  January  10,  1755,  in  the  Garden  of  the  Villa,  at  its 

farther  end  near  the  lacedaemonian  (?)  maiden  (site  23  on 

the  Plan). 
National  Museum,  Naples. 


GRECIAN  SECTION— HALL  11.  112  a 

Head,    encircled   with   curls    in    Egyptian 

STYLE. 
Portrait  of  Berenice  I.  (?),  wife  of  Ptolemy  I.  Soter. 

An  Alexandrian  Sculptor  ?     Hellenistic  Period. 

Bronze. 

Found,  November  16,  1759,  on  the  border  of  the  Fountain  in  the 

Court  of  the  Villa  (site  29  on  the  plan). 
National  Museum,  Naples. 


Bust. 
Portrait   of  Ptolemy   II.    Philadelphos  (?),   crowned 
with  a  wreath  of  foliage  and  buds. 

Bronze. 

Found,  May  9,  1759,  in  the  Garden  of  the  Villa,  close  to  the 

Peristyle,  at  its  left-hand  corner  nearest  the  Entrance 

(site  24  on  the  Plan). 
National  Museum,  Naples. 


Bust. 

Portrait  of  Ptolemy  X.  Soter  II.  (?  Lathyros),  crowned 
with  a  diadem  ? 

Bronze. 

Found,  March  26,  1754,  in  a  niche  at  the  middle  of  the  left- 
hand  wall  in  the  Atrium  of  the  Villa  (site  25  on  the  Plan). 
National  Museum,  Naples. 


34.     Bust. 

Portrait  of  Ptolemy  XI.  Alexander  I.  (?),  bound  by  a 
diadem  or  fillet. 

Bronze. 

Found,  January  10,  1755,  in  a  niche  at  the  middle  of  the  right- 
hand  wall  in  the  Atrium  of  the  Villa  (site  26  on  the  plan). 
National  Museum,  Naples. 


112  b      collection  of  bronze-reproductions. 

35.  Bust,     detached     from     its     Statue,     and 

stripped   of  a  crown probably   of  gold. 

Portrait  of  a  young  Victor,  with   long  curly  locks. 

A  Greek  Sculptor  in  Italy.     Second  Century,  B.  C. 

Bronze. 

Found,  September  23,  1752,  in  the  Tablinum  of  the  Villa  (site 

32  on  the  Plan). 
National  Museum,  Naples. 

36.  Bust. 

Portrait    of   a    Warrior,    bearded,    ami    wearing    a 

chlamys  fastened  by  a  clasp. 
Second  Century,  B.  C 
Bronze. 
Found,  April  10,   1754,  within  the  Peristyle  of  the  Court, 

against  a  column,  and  facing  toward  the  atrium  (site  27  on 

the  Plan). 
National  Museum,  Naples. 


GR^ECO-ROMAN    SECTION 

Hall    11. 


1.  Bust. 

Subject:  Portrait  of  Publius  Cornelius  Scipio  Afri- 
canus  (?),  the  Elder,  of  Rome:  consul,  princeps 
senatus,  and  military  general. 

Material  of  Monument :   Bronze. 

Station:  Found,  November  23,  1752,  in  the  Tablinum  of  the 
Villa,  on  the  left  (site  31  on  the  Plan). 

Place  of  Exhibition  To-day:  National  Museum,  Naples. 

2.  Bust. 

Portrait  of  L.  Cornelius  Sulla  Felix  (?),  of  Rome : 
military  general,  and  dictator. 

Bronze. 

Found,  about  the  middle  of  September,  1752,  in  the  Tablinum  of 

the  Villa  (site  33  on  the  Plan). 
National  Museum,  Naples. 

3.  Bust. 

Portrait  of  a  military  man,  wearing  a  close-fitting 
helmet. 

Bronze. 

Found,  about  the  middle  of  September,  1752,  in  the  Tablinum  of 

the  Villa  (site  35  on  the  Plan). 
National  Museum,  Naples. 

4.  Bust,  with  Greek  Inscription  :    one-quarter 

size. 

Zenon,  of  Sidon  (?),  Epicurean  philosopher  contem- 
porary "with  Cicero. 

Bronze. 

Found,  October  3,  1753,  in  an  apartment  to  the  right  of  the 
Tablinum  (site  41  on  the  Plan). 

National  Museumy  Naples. 

(113) 


113  a        COLLECTION  OF  BRONZE-REPRODUCTIONS. 

5.     Bust  :  one-quarter  size. 

Portrait  of  Agrippina  (?),  the  Elder:  daughter  of 
M.  Vipsanius  Agrippa,  and  wife  of  Germanicus 
Caesar. 

Bronze. 

Found,  September  23,  1752,  in  the  Tablinum  of  the  Villa  (site 

37  on  the  Plan). 
National  Museum,  Naples. 


Statuette  :  a  fountain-figure. 

Boy,  resembling  a  Cupid  in  childlike  fullness  of 
form,  his  weight  thrown  upon  his  left  leg, 
having  curly  locks  and  his  hair  above  the  brow 
gathered  into  a  tuft,  laying  his  right  hand  upon 
a  mask,  whose  mouth  was  turned  into  an 
opening  for  a  jet  of  water,  placed  upon  the 
summit  of  a  colonnette. 

Bronze. 

Found,  December  i,  1754,  in  the  Fountain  of  the  Atrium  (site 

42  on  the  Plan). 
National  Museum,  Naples. 


Statuette  :  a  fountain-figure. 

Boy,  Cupid-like,  his  weight  thrown  upon  the  right 
leg,  his  hair  curled  at  the  side  of  and  tufted  on 
the  top  of  his  head,  reaching  out  his  left  hand 
to  an  hydria  upon  a  colonnette,  perforated  for 
the  outflow  of  water  below  its  shoulder. 

Bronze. 

Found,  December  18,  1754,  in  the  Fountain  of  the  Atrium  (site 

43  on  the  Plan). 
National  Museum,  Naples. 


GRJECO-ROMAN  SECTION— HALL  11.  113  b 

8.     Statuette  :  a  fountain-figure. 

Boy,  having  the  figure  of  a  child,  posed  upon  both 
limbs,  raising  his  right  arm  in  a  gesture  of 
surprise  or  admiration,  set  out  with  hair  curly 
and  raised  in  a  bunch,  bearing  an  amphora 
horizontally  upon  his  left  shoulder,  whose  mouth 
gave  forth  water. 

Bronze. 

Found,  January  28,  1751,  in  an  apartment  beyond  the  Garden  of 
the  Villa  (site  50  on  the  Plan). 

National  Museum,  Naples. 


9.     Statuette  :  a  fountain-figure. 

Boy,  cherubic,  balanced  upon  both  legs,  his  hair 
dressed  in  a  knot  on  the  top  of  his  head, 
raising  his  left  arm  aloft,  and  holding  in  his 
right  hand  a  dolphin  from  whose  mouth  water 
escaped. 

Bronze. 

Found,  June  28,  1751,  in  an  apartment  beyond  the  Garden  of 
the  Villa  (site  51  on  the  Plan). 

National  Museum,  Naples. 


10.     Statuette. 

Faun,  similar  to  a  Cupid  in  form,  but  possess- 
ing pointed  ears  and  horns  highly  developed 
upon  his  brow,  carrying  a  rhyton  in  his  right 
hand  and  a  leathern  bottle  as  a  water-source 
upon  his  left  shoulder. 

Bronze. 

Found,  December  i,  1754,  in  the  Fountain  of  the  Atrium  (site 
44  on  the  Plan). 

National  Museum,  Naples. 


114  COLLECTION   OF  BRONZE-REPRODUCTIONS. 

11.  Figurine. 

Satyr,   dancing    wildly    and    flourishing   a   thyrsus- 
staff  in  his  right  hand. 
Bronze. 
Found,  February  25,  1754,  in  the  Atrium  of  the  Villa  (site  48  on 

the  Plan). 
National  Museum,  Naples. 

12.  Figurine  :    an  imitation  of  the  Villa  Bor- 

ghese  Statue. 
Seilenos,  bearded,  ivy-crowned,  dancing  and  playing 

upon   a   musical  instrument  (the  tibia?)  held  in 

both  his  hands. 
Bronze. 
Found,  March  2,  1754,  in  the  Atrium  of  the  Villa  (site  49  on 

the  Plan). 
National  Museum,  Naples. 

13.  Statuette  :  a  fountain-figure. 

Seilenos,  bearded,  shaggy,  crowned  with  ivy,  shod 
with  sandals,  riding  astride  of,  and  holding  on 
to  the  fore-legs  of,  a  large  skin -bottle,  whose 
mouth  served  as  an  outlet  for  water. 

Bronze. 

Found,  December  16,  1754,  in  the  Fountain  of  the  Atrium  (site 

45  on  the  Plan). 
National  Museum,  Naples. 

14.  Statuette  :   a  fountain-figure. 

Seilenos,  hirsute,  curly  bearded,  ivy-crowned,  scantily 
draped  by  a  long  narrow  scarf,  one  end  of  which 
covers  his  right  limb,  the  other  falling  from  over 
his  left  shoulder,  seated  upon  a  rock,  and 
caressing  a  little  panther,  from  whose  mouth 
water  issued. 

Bronze. 

Found,  November  27,  1754,  in  the  Fountain  of  the  Atrium  (site 

46  on  the  Plan). 
National  Museum,  Naples. 


GR^CO-ROMAN  SECTION— HALL  11.  114  a 

15.     Statuette  :     a  fountain-figure. 

Seilenos,  hairy,  his  beard  in  curls,  crowned  by  a 
wreath  of  ivy,  partly  covered  by  a  long  strip  of 
drapery  thrown  over  his  lap  and  dropping  from 
the  left  shoulder,  half  reclining  upon  rock-work, 
holding  up  the  neck  of  a  skin-bottle  to  do 
service  as  a  water-spout. 

Bronze. 

Found,  December  18,  1754,  in  the  Fountain  of  the  Atrium  (site 
47  on  the  Plan). 

National  Museum,  Naples. 


MEDIAEVAL  COLLECTION. 


FRENCH  SECTION, 

Hall  9. 


1.  Architectural  Reliefs. 

Subject:  Christ  between  two  winged  Cherubim; 
Adoration  by  the  Magi ;  Presentation  in  the 
Temple,  and  Baptism  of  our  Lord  in  the  River 
Jordan  ;  also,  other  groups  and  figures  of  Apos- 
tles much  defaced. 

Artist :  A  Sculptor  in  the  Romanesque  of  Auvergne. 

Date  of  Execution  :  Eleventh  Century,  A.  D. 

Material  of  Monument :  Sto  n  e . 

Station  ;  Portal  of  Southern  Facade  in  the  Church  of  Notre- 
Dame-du-Port,  at  Clermont-Ferrand  (Puy-de-Dome). 

2.  Architectural  Decoration. 
Capital  of  a  Column. 

Twelfth  Century,  A.  D. 

Old  Abbey-church  of  Saint-Laumer  (Saint  Nicolas),  at  Blois 
(Lozr-et-Cker). 

3.  Architectural  Decoration. 

Portion  of  Grand  Acanthus-frieze. 

Twelfth  Century,  A.  D. 

Cathedral  of  Saint  Etienne,  at  Bo  urges  {Cher). 

4.  High-relief. 
Life  of  our  Lord. 

The  Annunciation. 

A  Sculptor  who  reproduced  characteristics  of 
Byzantine  Style.     Twelfth  Century,  A.  D. 

Decoration  upon  the  Lintel  of  the  Porte  on  the  Right  in  the 
Western  Faqade  of  the  Cathedral  of  Notre-Dame,  at 
Chartres  (Eur e-et  Loir). 

(115) 


116  MEDIAEVAL  COLLECTION. 

5.  High-relief. 
Life  of  our  Lord. 

The  Visitation. 
A  Sculptor  influenced  by  Byzantine  Style. 
Twelfth  Century,  A.  D. 
Decoration  upon  the  Lintel  of  the  Porte  on  the  Right  in  the 

Western  Facade   of  the  Cathedral  of  Notre-Dame,   at 

Chartres  {Eure-et-Loir). 

6.  Relief. 

Christ  upon  the  Cross,  between  the  Madonna  and 
Saint  John,  with  other  Disciples  on  either  side. 

Twelfth  Century,  A.  D. 

Former  Station :  Reredos  of  the  Altar,  Abbey-church,  at 
Saint  Germer  {Ozse). 

Cluny  Museum,  Paris. 

7.  Architectural  Decoration. 
Fragment  of  Tympanum. 
Twelfth  Century,  A.  D. 

Western  Portal,  under  the  Porch,  in  the  Church  of  Saint 
Pierre,  at  Moissac  {Tarn-el-Garonne). 

8.  9.     Architectural  Decoration. 
Capitals  of  Pilasters. 

Twelfth  Century,  A.  D. 

Nave  of  the  Church  of  Saint  Eutrope,  at  Saintes  {Charente- 
Infdrzeure). 

10,  11.     Architectural  Decoration. 
Capitals  of  Engaged  Columns. 
Twelfth  Century,  A.  D. 
Former  Station :  Cloister  of  the  Abbaye  de  la  Daurade,  at 

Toulouse  {Haute  Garonne). 
Church-of-the-Augustins  Museum,  Toulouse. 

12.     High-relief. 

One  of  the  Five  Wise  Virgins. 
Designed  by  William  of  Sens. 
Middle  of  the  Twelfth  Century,  A.  D. 
Cathedral  of  Saint  Fjtienne,  at  Sens  {Yonne.) 


FRENCH  SECTION— HALL  9.  117 

13.     Architectural  Decoration. 

Base  of  Portal. 

Middle  of  the  Twelfth  Century,  A.  D. 

On  the  Right  of  the  Western  Facade  of  the  Cathedral  of 
Saint  £tienne,  at  Sens  ( Yonne). 


14.     High-relief. 

Madonna  and  Infant. 
A  Master  in  Early  Gothic  Sculpture. 
Toward  the   end  of  the  Twelfth  Century,  A.  D. 
Porte  Sainte  Anne  (Right,  or  Western)  in  the  Facade  of  the 
Cathedral  of  Notre-Dame,  at  Paris  {Seine). 


15.     High-relief. 

May,  or  Spring-time,  symbolized  under  the  Figure  of 
a  Young  Man  holding  in  his  left  hand  a  Flower, 
in  his  right  hand  a  Falcon. 

A  Master  in  Early  Gothic  Sculpture. 

Beginning  of  the  Thirteenth  Century,  A.  D. 

Decoration  in  the  Porte  de  la  Vierge  (Left,  or  Eastern)  in 

the  Facade  of  the  Cathedral  of  Notre-Dame,  at  Paris 

(Seine). 


16.     High-relief. 

Madonna  and  Infant,  enthroned. 
Beginning  of  the  Thirteenth  Century,  A.  D. 
Tympanum  of  an  interior  Doorway  in  Left  arm  of  Transept 
within  the  Cathedral  of  Notre-Dame,  at  Reims  (Marne). 


17.     High-relief. 

Frankish  Conquerors  receiving  the  Eucharist  from 
a  Bishop  ?  Dado  in  imitation  of  hanging  drapery. 
Middle  of  the  Thirteenth  Century,  A.  D. 
Decoration   of  Interior  Right-wall  of  the  Central  Portal, 
Western  Facade  of  the  Cathedral,  at  Reims  (Afarne). 


118  medieval  collection. 

18.  High-relief,  with  Inscription. 

Portrait  -  effigy    upon     the    Monument     of    Bishop 

Geofiroy.d'Eu. 
A  Founder  in  Bronze,  of  the  Region  of  Meuse. 
Bate  of  Execution  :  1239,  A.  D. 
Material  of  Monument :  Bronze,  casting. 
Station:  Third  Arch  in  the  Nave,  on  the  Right-hand  Side, 

within  the  Cathedral  of  Notre-Dame,  at  Amiens  (Somme). 

19.  High-relief,  with  Inscription. 

Portrait  -  effigy  upon  the  Monument  of  Bishop 
Evrard  de  Fouilloy. 

A  Founder  in  Bronze,  of  the  Region  of  Meuse. 
Date  of  Execution :  1223,  A.  D. 
Material  of  Monument :  Bronze,  casting. 
Station:  Third   Arch   in  the  Nave,  on  the  ■  Left-hand  Side, 
within  the  Cathedral  of  Notre-Dame,  at  Amiens  {Somme). 

20  to  35.     High-reliefs. 

Quatrefoils  representing  the  pleasant  Order  of  the 
guarded  and  hallowed  Year  —  Zodiacal  Signs 
above,  Labors  of  the  Months  below. 

Introduced  by  two  Scenes  or  Visions  spoken  of  by  the 
Prophet  Haggai : 

20.  One  in  chapter  i.  4. 

•'Then  came  the  word  of  the  Lord  by  Haggai  the  prophet, 
saying,  Is  it  time  for  you,  O  ye,  to  dwell  in  your  cieled  houses, 
and  this  house  lie  waste?" — illustrated  by  a  large  ceiled 
dwelling,  built  much  like  a  Fortress  of  squared  stones,  and 
showing  an  open  grated  window,  as  of  a  Dungeon,  in  the 
Foundation. 

21.  The  other,  in  chapter  i.  9,  10. 

"  Because  of  mine  house  that  is  waste,  and  ye  run  every 
man  unto  his  own  house.  Therefore  the  heaven  over  you  is 
stayed  from  dew,  and  the  earth  is  stayed  from  her  fruit" 
— illustrated  by  the  heaven  projecting  as  a  mass  having  the 
sun,  moon  and  stars  figured  in  relief  upon  it;  and,  because 
thus  unclouded  or  rainless,  blasting  two  or  three  withered  trees. 

22.  Cancer,  with  finely  modeled  shell. 

June,  mowing,  with  Flowers  appearing  amidst  the  Grass. 


FRENCH  SECTION—HALL  9.  119 

23.  Leo,  smiling  in  token  of  the  kind  and  beneficent  season. 
July,  reaping  Grain,  and  binding  it  into  Sheaves. 

24.  Virgo,  holding  in  her  Hand  a  Flower. 
August,  threshing. 

25.  Libra. 

September,  beating  Fruit  from  off  a  Tree — Olives? 

26.  Scorpio,  with  forked,  yet  stingless,  Tail. 
October,  treading  Grapes. 

27.  Sagittarius,  drawing  his  Bow. 
November,  sowing  Winter-wheat. 

28.  Capricorn,  half-figure. 

December,  killing  and  scalding  Swine. 

29.  Aquarius. 

January,  double  headed,  at  table  and  obsequiously  served. 

30.  Pisces. 

February,  warming  his  Feet  and  adding  coals  to  the  Fire. 

31.  Ares. 

March,  working  in  Vineyard. 

32.  Taurus,  browsing  young  leaves  from  a  Tree. 
April,  feeding  Hawk. 

33.  Gemini — Bridegroom  and  Bride. 

May,  rendered  as  a  Man  of  middle  age,  sitting  in  the  Shade 

Trees  and  listening  to  the  Songs  of  Birds. 
Followed   by  two   Scenes  or  Visions   spoken    of   by    the 
Prophet  Zephaniah: 

34.  One,  in  chapter  i.  12. 

"And  it  shall  come  to  pass  at  that  time,  that  I  will  search 
Jerusalem  with  candles,  and  punish  the  men  that  are  settled 
on  their  lees  :  that  say  in  their  heart,  The  Lord  will  not  do 
good,  neither  will  he  do  evil" — illustrated  by  the  Person  of 
Christ  passing  through  the  streets  of  Jerusalem,  holding 
lanterns  in  his  hands. 

35.  The  other,  in  chapter  ii.  13,  14. 

"And  he  will  stretch  out  his  hand  against  the  north,  .  .  . 
and  will  make  Nineveh  a  desolation,  and  dry  like  a  wilder- 
ness. And  flocks  shall  lie  down  in  the  midst  of  her,  all  the 
beasts  of  the  nations  :  both  the  cormorant  and  the  bittern 
shall  lodge  in  the  upper  lintels  of  it ;  their  voice  shall  sing  in 
the  windows  ;  desolation  shall  be  in  the  thresholds  :  for  he 
shall  uncover  the  cedar  work  "  — illustrated  by  a  fortress-like 
Structure  inhabited  by  a  cormorant  in  the  belvedere  of  the 
central  Tower,  by  a  hedge-hog  in  the  lower  story  of  the  same, 


120  MEDIAEVAL  COLLECTION. 

and  by  a  singing-bird  caged  in  a  window  upon  the  roof  of  the 
right-hand  wing  of  the  edifice. 
Executed     under     the     direction     of     Robert     de 

Luzarches. 
About  the  middle  of  the  Thirteenth  Century,  A.  D. 
Base  of  the  Porte  Saint  Firmin  (Left,  or  Western)  in  the 
Facade    of    the    Cathedral  of  Notre-Dame,   at  Amiens 
(Somme). 

36.  Statues. 

Madonna  and  Infant,  Angels:  the  Twelve  Apostles. 

Executed  under  the  direction  of  Robert"  de 
Luzarches  ;  Thomas,  and  Regnault,  de  Cormont. 

Latter  part  of  the  Thirteenth  Century,  A.  D. 

Middle  Pier,  Lintel,  and  Portion  of  Tympanum,  in  the  Porte 
Saint  Honore  (Southern  Facade),  of  the  Cathedral  of 
Notre-Dame,  at  Amiens  {Somme). 

37.  Architectural  Decoration. 
Trail  of  Archivolt. 

Thirteenth  Century,  A.  D. 

Western  Portal  of  the  Cathedral  of  Notre-Dame,  at  Rouen 
{Seine  Inferieure). 

38.  Statue  and  High-relief. 

In  the  Trumeau — Portrait-statue  of  Bertrand  de  Goth, 
Archbishop  of  Bordeaux  and  afterwards  Pope 
Clement  V. 

Within  the  Tympanum — The  Last  Supper. 

Fourteenth  Century,  A.  D. 

Northern  Transept-Portal  of  the  Cathedral  of  Saint  Andre, 
at  Bordeaux  {Gironde). 

39.  40.     Architectural  Decoration. 
Fragments  of  Frieze  from  Cornice. 
Thirteenth  Century,  A.  D. 

Cathedral  of  Notre-Dame,  at  Laon  (Azsne.) 


FRENCH  SECTION— HALL  9.  121 

41.  High-relief. 

Portrait-effigy  upon  the  Monument  of  an  Abbess — 

earlier,  a  widow  of  one  of  the  Sires  de  Coucy. 
Fourteenth  Century,  A.  D. 
White  Marble. 
Church  of  Saint  Martin,  at  Laon  (Aisne). 

42.  High-relief. 

Portrait-effigy  of  Due  Charles  I.  de  Bourbon. 
Jacques  Morel.     1448  A.  D. 
White  Marble. 

Monument  of  the  Due  Charles  de  Bourbon,  in  the   Church 
(Chapelle  Neuve),  at  Souvigny  {A  I  Her). 

43.  High-relief. 

Portrait-effigy  of  Duchesse  Agnes  de  Bourgogne. 
Jacques  Morel.     1448  A.  D. 
White  Marble. 

Monument    of    the    Duchesse    Agnes    de   Bourgogne,    in  the 
Church  (Chapelle  Neuve),  at  Souvigny  {Allier). 

44.  Bust. 

Portrait  of  a  Young  Woman,  no  longer  known  by 

name. 
Fifteenth  Century,  A.  D. 
Marble. 
Museum  of  the  Louvre,  Paris. 


ITALIAN  SECTION, 

Hall  9. 


1.  Gothic  architectural  Decoration. 

Subjects,  entering  into  the  Composition  of  tine  Archi- 
volt:  Infancy  of  Christ. 

The  Annunciation. 
The  Visitation. 
Adoration  by  the  Magi. 
Presentation  in  the  Temple. 
Flight  into  Egypt. 
Massacre  of  the  Innocents. 

Subjects,  within  the  Arch:  The  Madonna  and  the 
Crown. 

The  Deposition. 

Madonna,  and  Infant,  seated  between  two  kneeling  Saints. 

Madonna  della  Misericordia. 

Subject,  at  the  Apex, :  The  Crucifix. 

Artist:  Designed  by  the  Freibourg  Sculptor,  Annex  di 

fernach  :  completed  by  the  vmllanese  sculptors, 

Giovanni,  and  Perrino,  de'  Grassi. 
Date  of  Execution :  1395  A.  D. 
Station :  Door  of  the  Southern  Sacristy  (to  the  Right  in  the 

Choir)  in  the  Cathedral,  at  Milan. 

2.  Relief,  with  Inscription  in  Latin. 
Death-bed  of  the  Madonna,  surrounded  by  Disciples 

and  Apostles :  her  Ascension  in  a  mystic  Man- 
dola,  borne  aloft  by  Angels,  from  which  she  drops 
her  Girdle  to  Thomas,  the  Apostle,  who  once 
doubted  the  Resurrection  of  Christ. 

Andrea  Orcagna,     1359  A.  D. 

White  Marble. 

High  Altar,  or  Tabernacle  of  the  Virgin,  in  the  Church  of 
Or  San  Michele,  at  Florence. 

(133) 


JOHNSTON   COLLECTION 


ITALIAN  RENAISSANCE, 

Hall  9. 


1.  Monument,  with  High-reliefs. 

Subject :  Portrait-effigy  of  Ilaria  del  Carretto,  wife 
of  Paolo  Guinigi,  Lord  of  Lucca. 

Artist :  Jacopo  della  Quercia. 
Date  of  Execution  :  1413  A.  D. 
Material  of  Monument ;  Marble. 

Station :  Left  Transept  in  the  Cathedral  of  San  Martino, 
at  Lucca. 

2,  Monument,    with    High-reliefs    and    Latin 

Inscription. 

Madonna,  and  Infant,  seated  between  four  Saints 
(Jerome,  Sebastian,  Lucia,  Catharine  of  Alexan- 
dria ? )  in  baldachins  whose  pinnacles  end  in 
Half-figures  of  Prophets. 

Jacopo  della  Quercia.     1422  A.  D. 

Marble. 

Altar-piece  of  the  Trenta  Family  in  the  Capella  del  S.  Sacra- 
mento of  the  Basilica  of  San  Frediano,  at  Lucca. 


4.     Reliefs. 
The  Terrestrial  Paradise. 

3.  Creation  of  Eve. 

4.  Expulsion  from  the  Garden  of  Eden. 

Jacopo  della  Quercia.     1429  to  1433  A.  D. 
Pilaster    of    Grand    Portal,  Basilica    of    San    Petronio,    at 
Bologna. 

C125) 


126  JOHNSTON  COLLECTION. 

5  to  9.     Reliefs. 
Infancy  of  Christ. 

5.  The  Nativity. 

6.  Presentation  in  the  Temple. 

7.  Adoration  by  the  Magi. 

8.  Flight  into  Egypt. 

9.  Massacre  of  the  Innocents. 

Jacopo  della  Quercia.     1429  to  1433  A.  D. 
Architrave  of  Grand  Portal,    Basilica  of  San  Petronio,  at 
Bologna. 

10.     Monument,  with  Reliefs  and  Statuettes. 

Subject :  History  of  John  the  Baptist. 

Artists  :  Jacopo  della  Quercia  : 

Statuette  of  John  the  Baptist  at  the  apex  of  the  Monument; 
The  five  Prophets  in  as  many   niches  of  the  Tabernacle; 
And  one  of  the  six  Panel-reliefs  around  the  Basin,  viz.,  The 

Appearance   of  the  Angel  Gabriel   to  Zacharias  beside 

the  Altar  of  Incense  in  the  Temple. 

Lorenzo  Ghiberti  : 

Two  of  the   six  Panel-reliefs,   viz.,  Baptism    of  Christ  by 
John,  and   John    pointing    to  Heaven  when  forced  by 
Soldiers  into  the   presence  of  Herod  sitting  in  a  curule 
and  consulting  with  a  Sibyl. 
Donatello : 

One  of  the  six  Reliefs,  viz.,  The  Feast  of  Herod,  or  Head  of 
John  brought  before  Herod  and  his  Guests  at  Table. 
Giovanni  Turini  : 

Two  of  the   six   Reliefs,  viz.,  Birth  of  John  the  Baptist, 
and  John  preaching  in  the  Desert  of  Jude.a. 
Giovanni  di  Torino  : 

Five  of  the  six  Statuettes  inserted  at  the  angles  between 
the  Reliefs  of  the  Basin,  viz.,  Justice,  Charity,  Prudence, 
Hope,  Faith  ; 
The    enameled  Frieze  of  the  Monument; 
And  three  of  the  Genii,  in  the  round,  standing  at  the  angles 
above  the  Tabernacle. 
Goro  di  Neroccio  : 

One  of  the  six  Statuettes  inserted  between  Reliefs  of  the 
Basin,  viz..  Valor. 
Pietro  del  Minella  : 

All  the  marble-work  of  the  Structure. 


ITALIAN  RENAISSANCE-HALL  9.  127 

Date  of  Execution :  1416  to  1431  A.  D. 

Material  of  Monument :  The   Monument,  in  Marble  :  the 

decorative  Reliefs  and  Frieze,  in  Bronze. 
Station ;  Font  in  the  Baptistery  of  the    Church  of    San 

Giovanni,  at  Siena. 

11  to  26.     Monument,    with   Reliefs  and    archi- 
tectural Decoration. 
Subjects:  Old   Testament   Histories,  represented   in 
perspective  relief. 

11.  Panel  1.     The  Garden  of  Eden. 

At  the  Upper  Centre — The  Eternal  Father,  attended  by  a 
Choir  of  Angels,  descending  from  Heaven  and  creating 
the  World. 

On  the  Lower  Left  Hand — The  Eternal  Father  as  Creator 
raising  Adam  from  the  Dust. 

In  the  Lower  Central  Foreground — Eve,  rising  from  the 
side  of  the  Sleeping  Adam,  and  as  yet  not  fully  con- 
scious, is  gently  conducted  by  Angels  to  God  the 
Father  who  graciously  extends  his  hand  to  sustain  her. 

Upper  Left — The  Temptation:  the  Serpent,  coiled  about 
the  Tree  of  the  Knowledge  of  Good  and  Evil,  lifts  his 
human  Head  above  the  Trunk  and  addresses  Eve  from 
among  its  branches  ;  Eve  stretches  upward  her  left  arm 
to  pluck  an  Apple. 

Lower  Right — The  Expulsion  :  Eve,  followed  by  Adam, 
driven  forth  from  out  the  Gate  of  the  Garden. 

12.  Panel  2.     Cain  and  Abel. 

In  the  Upper  Left — Domestic  Scene  of  the  first  human 
Family  :  in  front  of  house-door  Adam  preparing  Corn 
for  food,  Eve  spinning,  with  their  two  children  still  very 
young  close  beside  them. 

Middle  Left — Abel  tending  his  Flocks  in  a  somewhat  hilly 
landscape. 

Lower  Left — Cain,  with  yoke  of  Bullocks,  plowing  a  Field. 

Upper  Right — The  Eternal  Father  from  Heaven  surveying 
the  sacrifices  of  the  Two  Brothers,  the  offering  of  Cain 
upon  one  altar,  the  Ram  of  Abel  upon  another. 

Middle  Right — Cain,  envious  of  Abel  in  consequence  of  the 
acceptance  of  his  offering,  kills  him. 

Lower  Right — The  Eternal  Father  appears  on  high  to  Cain, 
asking,  "Where  is  Abel  thy  brother?"  Cain,  looking 


128  JOHNSTON  COLLECTION. 

upward,  replies  with  a  gesture,  "  I  know  not:  Am  I  my 
brother's  keeper?" 

13.  Panel  3.     Noah. 

Upper  Right— The  Eternal  Father  from  the  clouds  direct- 
•     ing  the  Descent  from  the  Ark. 

Upper  Centre — From  a  Window  near  the  apex  of  the 
pyramidal  Ark  flocks  of  Birds  fly  forth  mainly  toward 
the  left.  At  the  same  time,  from  a  door  near  the  base 
of  the  Ark  toward  the  right,  Noah  steps  forth  accom- 
panied by  his  entire  Family.  On  the  one  hand,  an 
Elephant  and  a  Stag  have  already  made  their  escape, 
and  on  the  other,  a  Lion,  a  Lynx,  a  Bear,  and  a  Bull. 
In  the  foreground,  lies  a  lifeless  Antediluvian. 

Lower  Right — The  Sacrifice  of  Noah,  surrounded  by  his 
Family. 

Lower  Left — The  Intoxication  of  Noah :  Ham,  having 
observed  his  Father,  tells  his  two  brethren  without, 
Shemandjapheth,  who,  having  taken  a  Mantle  and  laid 
it  upon  both  their  shoulders,  walk  backward  in  order  to 
let  it  fall  upon  their  Father  lying  under  a  booth  in  the 
vineyard. 

14.  Panel  4.     Abraham. 

On  the  Left — His  Entertainment  of  the  Three  Angels,  ap- 
pearing to  him  in  the  Plains  of  Mamre,  and  promising 
him  a  son — Sarah  standing  by,  in  the  Tent-door. 

Upper  Right — The  Trial  of  Abraham's  Faith :  upon  one 
of  the  Mountains  in  the  Land  of  Moriah,  Abraham, 
about  to  plunge  the  knife  into  the  Lamb  for  a  burnt- 
offering— his  only  Son— is  restrained  by  an  Angel  from 
on  high,  who  seizes  the  blade  and  points  to  the  substi- 
tute, a  Ram  reclining  under  adjacent  shubbery. 

In  the  Lower  Right — Abraham's  two  young  men  guard  the 
saddled  Ass  and  await  their  Master's  return  at  the  foot 
of  the  Mount,  from  whose  rocky  side  a  jet  of  water 
issues  into  a  Basin. 

15.  Panel  5.     Esau  and  Jacob. 

Upper  Right — Rebekah,  standing  alone  upon  the  roof  of  her 
House,  inquires  of  the  Lord,  "If  it  be  so,  why  am  I 
thus?"  The  Eternal  Father  answers  explaining,  from 
above. 

Middle  Left — Within  the  left  wing  of  the  House,  Birth  of 
Esau  and  Jacob. 

Middle  Centre— Within  the  Central  Hall :  Sale  of  his  Birth- 
right by  Esau.    Jacob  at  Table  on  the  left,  Esau  rushing 


ITALIAN  RENAISSANCE— HALL  9.  129 

in  on  the  right.  "And  Jacob  sod  pottage:  and  Esau 
came  from  the  field,  and  he  was  faint :  And  Esau  said 
to  Jacob,  Feed  me,  I  pray  thee,  with  that  same  red 
pottage ;  for  I  am  faint.  .  .  .  And  Jacob  said,  Sell  me  this 
day  thy  birthright.  And  Esau  said,  Behold,  I  am  at  the 
point  to  die  :  and  what  profit  shall  this  birthright  do  to 
me?  And  Jacob  said,  Swear  to  me  this  day;  and  he 
sware  unto  him  :  and  he  sold  his  birthright  unto  Jacob. 
Then  Jacob  gave  Esau  bread  and  pottage  of  lentiles ; 
and  he  did  eat  and  drink,  and  rose  up,  and  went  his 
way.     Thus  Esau  despised  his  birthright." 

In  the  Central  Foreground — Isaac  charging  Esau:  "Now 
therefore  take,  I  pray  thee,  thy  weapons,  thy  quiver 
and  thy  bow,  and  go  out  to  the  field,  and  take  me 
some  venison."  Two  hounds  await  their  Master,  and 
the  chase. 

Middle  Right — Within  the  left  wing  of  the  House,  Esau 
being  absent  on  the  hunt,  Jacob  brings  in  a  slain  Kid 
to  his  mother  Rebekah. 

Lower  Right — Isaac,  being  dim  of  sight  and  believing  Jacob 
to  be  Esau,  blesses  him,  Rebekah  standing  near  by. 

Lower  Left — Group  of  Esau  and  his  three  wives,  Adah, 
Aholibamah,  and  Bashemath  (?)  one  of  whom  bears  upon 
her  head  the  covered  dish  of  savory  meat  for  Isaac,  the 
Huntsman  having  returned  successful,  with  the  words, 
"Let  my  father  arise,  and  eat  of  his  son's  venison, 
that  thy  soul  may  bless  me." 

Middle  Right — Flight  of  Jacob  :  Jacob  setting  out  toward 
Bethel,  on  his  way  to  Padan-aram. 
16.  Panel  6.     Joseph. 

Upper  Right — Joseph,  a  lad,  is  taken  from  the  Pit,  into 
which  he  had  been  cast  by  his  Elder  Brethren,  and  is 
sold  by  them  to  a  company  of  Ishmaelites  going  from 
Gilead  down  into  Egypt. 

Extreme  Lower  Right — Arrival  in  Egypt :  Potiphar,  an 
officer  of  Pharaoh,  buys  Joseph  from  the  Ishmaelites. 

Centre — Joseph,  elevated  to  be  Ruler  over  all  the  land  of 
Egypt,  and  seated  in  state  within  a  Rotunda,  causes  his 
ten  Brethren,  who  had  made  the  journey  to  buy  food  at 
the  command  of  Jacob,  to  be  laden  with  sacks  of  Corn. 

Central  Lower  Right — Joseph,  having  required  of  his 
brothers  the  presence  of  Benjamin  when  next  they 
came  to  procure  food,  and  having  detained  Simeon  as 
a  surety,   now,  upon  their  second  arrival,   recognizes 


130  JOHNSTON  COLLECTION. 

little  Benjamin  among  the  company,  which  this  time 
includes  some  of  the  women  of  the  household. 

Lower  Left— The  eleven  sons  of  Jacob,  after  having  set 
out  on  their  homeward  journey,  are  overtaken  by 
Joseph's  Steward,  and  the  Silver  Cup  is  discovered  in 
the  mouth  of  Benjamin's  Sack. 

Upper  Left — Interview  of  Joseph  with  Benjamin:  "And 
he  fell  upon  his  brother  Benjamin's  neck,  and  wept  ; 
and  Benjamin  wept  upon  his  neck;"  while  the  elder 
brothers  listen  to  his  charge  or  bow  down  in  reverence. 

17.  Panel  7.     Moses. 

Upper  Centre — The  Giving  of  the  Law  :  Moses,  standing 
on  the  top  of  Mount  Sinai,  receives  two  separate  Tables 
of  Stone  inscribed  with  the  Ten  Commandments,  from 
the  Eternal  Father  surrounded  by  a  host  of  Angels. 
Lower  down  upon  the  mountain-side  Joshua,  overcome 
by  the  Divine  Presence,  hides  his  face  from  the  scene 
and  its  splendor. 

Lower  Right  and  Centre — Moses,  upon  his  descent  from  the 
Mount,  finds  Aaron  and  all  the  people  of  Israel  afraid  to 
come  nigh  unto  him  on  account  of  the  dazzling  lustre  of  his 
countenance,  of  which  he  was  unconscious  yet  which  was 
so  overpowering  as  to  require  a  vail  to  serve  for  a  screen 
while  he  communicated  to  them  the  Divine  Message. 

Middle  Left — A  representation  of  the  Camp  of  the  Israelites, 
stretching  as  far  as  to  the  shore  of  the  Red  Sea. 

18.  Panel  8.     The  Passage  of  the  River  Jordan. 

Middle  and  Lower  Left — The  Ark  of  the  Covenant  of  the 
Lord,  borne  by  Priests,  standing  firm  in  the  midst  of 
Jordan's  bed,  while  all  the  Israelites  passed  over  on  dry 
ground,  Joshua  riding  in  a  chariot  drawn  by  three 
horses. 

Lower  Centre — Out  of  the  place  where  the  Priests'  feet  stood 
firm,  twelve  men,  chosen  out  of  every  tribe  a  man,  take 
up  each  a  stone  upon  the  shoulder,  for  the  purpose  of 
building,  at  the  spot  where  they  were  to  lodge  that 
night,  a  monument  commemorative  of  the  miraculous 
passage. 

Central  and  Middle  Right— Twelve  tents  of  the  Encamp- 
ment at  Gilgal  in  the  Plains  of  Jericho,  on  the  west  of 
the  River  Jordan. 

Upper  Field— The  City  of  Jericho  in  the  distance :  in  the 
foreground,  the  procession  of  Israelites,  led  by  Joshua, 
and  these   preceded  by   Priests  carrying  the  Ark  on 


ITALIAN  RENAISSANCE— HALL  9.  131 

their  shoulders  and  blowing  seven  trumpets — all  march- 
ing around  the  town  doomed  to  fall  on  the  seventh  day. 
Already,  however,  the  walls  begin  to  crack,  the  towers 
to  break  and  overturn. 

19.  Panel  9.     David. 

Lower  Centre — Victory  of  David  over  the  gigantic  Goliath 
of  Gath  :  "So  David  prevailed  over  the  Philistine  with  a 
sling  and  with  a  stone,  and  smote  the  Philistine,  and 
slew  him ;  but  there  was  no  sword  in  the  hand  of  David. 
Therefore,  David  ran,  and  stood  upon  the  Philistine, 
and  took  his  sword,  and  drew  it  out  of  the  sheath 
thereof,  and  slew  him,  and  cut  off  his  head  therewith." 

Lower  Border — The  pebbly  bed  of  a  Brook ;  David's  Sling 
cast  aside  upon  the  ground;  his  Shepherd's  Staff;  and 
the  Spear  of  Goliath,  like  a  weaver's  beam. 

Middle  Section — King  Saul,  from  his  chariot,  directing  the 
Defeat  and  Pursuit  of  the  Philistine  Army. 

Upper  Section— David  approaching  the  City  of  Jerusalem, 
carrying  in  his  hand  the  Head  of  Goliath  the  Philistine: 
at  the  City-gate  he  is  met  by  women  coming  forth  to 
welcome  the  victors,  singing  and  dancing,  with  tabrets, 
and  with  joy,  and  answering  one  another  as  they  played, 
saying,  '  ■  Saul  hath  slain  his  thousands,  and  David  his 
ten  thousands." 

20.  Panel  10.     Solomon. 

The  Visit  of  the  Queen  of  Sheba  :  King  Solomon  receives  in 
state  the  Arabian  Queen  who  "came  to  Jerusalem  with  a 
very  great  train,  with  camels  that  bare  spices,  and  very 
much  gold,  and  precious  stones.  .  .  .  And  she  gave 
the  king  an  hundred  and  twenty  talents  of  gold,  and  of 
spices  very  great  store,  and  precious  stones  :  there  came 
no  more  such  abundance  of  spices  as  these  which  the 
Queen  of  Sheba  gave  to  king  Solomon.  .  .  .  And 
king  Solomon  gave  unto  the  queen  of  Sheba  all  her 
desire,  whatsoever  she  asked,  beside  that  which  Solomon 
gave  her  of  his  royal  bounty." 

21.  At  the  top  and  the  bottom,  upon  transverse  bands  of  the 

frame,  Personifications  of  the  Four  Seasons  are  intro- 
duced : 

Above  the  Creation-panel,  Spring,  under  the  form  of  a 
Woman  recumbent  and  holding  a  Flower. 

Above  the  Cain-and-Abel-panel,  Summer,  represented  as  a 
Man  reclining  and  grasping  a  Hoe. 


132  JOHNSTON  COLLECTION. 

Below  the  David-panel,  Winter — a  bald  Old  Man,  reclining. 
Below  the  Solomon-panel,  Autumn — a  Woman  recumbent. 

22.  On  all  sides,  upon  the  upright  bands  of  the  Frame,  twenty 

Statuettes   are   inserted,   representing  Historical   Per- 
sonages, or  Symbolical  Types. 
Among  Historical  Personages  may  be  recognized: 

To  the  right  of  the  Noah-panel,  Tobias  holding  a  Fish  in  his 
hand. 

To  the  right  of  the  Abraham-panel,  Samson  grasping  a 
Column  by  his  left  arm  and  the  Jaw-bone  of  an  Ass  in 
his  right  hand. 

To  the  left  of  the  Moses-panel,  Miriam  playing  on  a  Tam- 
bourine. To  the  right  of  the  same  panel,  Moses  extend- 
ing a  burning  Flame  in  his  left  hand. 

To  the  left  of  the  Joshua-panel,  Joshua  commanding  the 
Sun  to  stand  still. 

To  the  left  of  the  David-panel,  Judith  carrying  in  her  left 
hand  the  Head  of  Holofernes. 

23.  Among  Symbolical  Types  may  be  pointed  out : 

Upon  the  right    of   the    Cain-and-Abel-panel,   A  Warrior 

leaning  upon  his  Shield. 
Upon  the  right  of  the  Joseph-panel,  a  Prophet  bearing  a 

Book. 
Under  half  a  dozen  niches,  Sibyls  flourishing  long  Scrolls. 

24.  Over  against  the  corners  of  Panels  twenty-four  Heads  are 

added. 
These  include  Portraits  of  the  Author  of  the  Work  himself, 
Lorenzo  Ghiberti,  and  of  his  father-in-law  as  well  as 
Master,  Bartoluccio,  a  skillful  goldsmith  who  aided  him 
greatly  in  the  execution  of  the  task — placed  in  the  cen- 
tral vertical  bands  mid-way  between  top  and  bottom 
of  the  Door,  or  more  exactly,  fourth  in  the  series  from 
the  top,  third  from  the  bottom. 

25.  Upon  the   Casement,  an   elaborate  Decoration   of  foliage, 

fruits,   birds,   and  animals,    springing  from  Vases,  is 
designed. 

26.  The  whole  is  surmounted  by  a  Cornice  made  up  of  classical 

details — mouldings,  echini,  dentels,  etc.,  etc. 
Artist:  Lorenzo  Ghiberti. 
Date  of  Execution :  1447  A.  D. 
Material  of  Monument :  Bronze. 

Station :  Third  Door  of  the  Baptistery,  or  Church  of  San 
Giovanni  Battista,  at  Florence. 


ITALIAN  RENAISSANCE-HALL  9.  133 

£7,  28,  29.     Monument,  with  Reliefs. 

Subject:  Miracles  of  Saint  Zenobius,  thrown  into 
perspective  relief. 

27.  End-piece,  on  the  left  Hand — Saint  Zenobius  restoring  to 
life  a  Child  crushed  under  the  Wheel  of  a  Cart. 

28.  Front — Resuscitation  of  a  Young  Person,  by  the  Saint,  in 
the  Presence  of  the  bereaved  Mother  and  a  Throng  of 
Spectators,  the  Body  lying  in  the  foreground  and  the 
Spirit  hovering  over. 

29.  End-piece,  on  the  right  Hand — Saint  Zenobius  bringing 
to  life  a  Servant  of  his,  who  had  died  in  the  Alps. 

Artist :  Lorenzo  Ghiberti. 

Date  of  Execution :  1446  A.  D. 

Material  of  Monument :  Bronze. 

Station  :  Reliquary,  or  Cassa,  containing  the  Remains  of  the 
Saint,  below  the  Altar  of  Saint  Zenobius  in  the  Tribuna, 
on  the  East  of  the  Nave,  in  the  Cathedral  of  Santa 
Maria  del  Fiore,  at  Florence. 

30,  31,  32.     Low-reliefs. 

Subject :  Angels  variously  engaged. 

30  and  32.  Angels,  singing  and   playing  upon  Instruments  of 

Music. 
31.  Angels,  exalting  Emblems  of  our  Lord's  Passion. 

Artist :  A  Master  of  the  Fifteenth  Century. 

Date  of  Execution  t  About  1480  A.  D. 

Material  of  Monument :  B  ro  nze. 

Station:    Altar-design  in  the  Church  of  San  Trovaso,    at 

Venice. 

m 
33>  34,  35-     Low-reliefs. 

Subject :  Angels  variously  employed. 

33  and  35.  Angels,  playing  upon  Musical  Instruments. 
34.  Angels,  holding  aloft  Emblems  of  our  Lord's  Passion,  or 
clasping  to  their  breasts  the  Hammer  and  Nails. 

Artist:  Donatello? 
Material  of  Monument :  Bronze. 

Station :  Front  of  an  Altar  in  the  Church  of  San  Trovaso, 
at  Venice. 


134  JOHNSTON  COLLECTION. 

36.  Statue. 

Subject:  John  the  Baptist. 

Artist:  Donatello. 

Date  of  Execution :  Prior  to  1403  ? 

Material  of  Monument :  Marble. 

Place  of  Exhibition  •  National  Museum,  at  Florence. 

37.  Monument,  with  Low-relief. 

Subjects:    Statue— Saint  George.      Bas-relief— Saint 

George  slaying  the  Dragon. 
Artist :  Donatello. 
Date  of  Execution :  141 6  A.  D. 
-  Material  of  Monument :  Marble. 
Former  Station:    Exterior    of    the    Church    of    Or   San 

Michele,  at  Florence. 
Place  of  Exhibition  To-day  :  National  Museum,  Florence. 

38.  Statue. 
David. 

Donatello.     1432-1433  A.  D. 

Bronze. 

National  Museum,  Florence. 

39.  Half-size  Statue. 

Genius,  winged,  draped  with  Leggings  hung  from  a 
Belt,  walking  among  Snakes,  imploring  Help — 
apparently  a  Travesty  allegorical  of  Mercury, 
Cupid,  or  a  Faun. 

Donatello.     1432-1433  A!  D. 

Bronze. 

National  Museum,  Florence 

40  to  45.     Reliefs. 

Genii,  dancing  and  playing. 

Donatello.     1433  A.  D. 

Marble. 

Former  Station :  Cantoria,  or  Organ-balustrade,  over  the 

Sacristy,  in  the  Duomo,  at  Florence. 
Place  of  Exhibition  To-day :  Museum  of  the  Cathedral, 
Santa  Maria  del  Fiore,  Florence. 


ITALIAN  RENAISSANCE-HALL  9.  135 

46.  Relief. 

Genii,  dancing  and  playing. 

DONATELLO    AND    MlCHELOZZI.       1434  A.  D. 

Facade  of  Cathedral,  Exterior  Pulpit,  at  Prato. 

47.  Equestrian  Statue.     (Hall  io.) 
Portrait-figure  of  the  Venetian  General  Erasmo  da 

Narni,  called  '  Gattamelata.' 

DONATEL'LO.       1451-1453  A.  D. 

Bronze. 

Piazza  del  Santo,  at  Padua. 

48.  Statue. 
John  the  Baptist. 

DONATELLO.       I457-I458  A.  D. 

Bronze. 

Cathedral,  Left  Transept,  Chapel  of  San  Giovanni,  at  Siena. 

49.  Group,  with  Inscription  in  Latin. 
Judith  and  Holofernes. 

DONATELLO.       1457-1461   A.   D. 

Bronze. 

Former  Stations :    Palazzo  de'    Medici,  until  1495. 

Ringhiera  of  the  Palazzo  Vecchio,  until  1504,  at  Florence. 
Place  of  Exhibition  To-day :  Loggia  de'  Lanzi,  Florence. 

50.  Low-relief.  ;  • 
Saint  Cecilia. 

DONATELLO. 

Marble. 

Collection  of  Lord  Elcho,  London. 

51.  Relief. 

Madonna  and  Infant:  Seraphim. 
Michelozzo  Michelozzi.     B.  1391  :  d.  1472. 
Marble. 

Exterior  of  Cathedral,  surmounting  Entrance  on  the  Southern 
Side,  at  Siena. 


136  JOHNSTON  COLLECTION. 

52  to  61.     Reliefs. 

Subjects :  Dancing,  Singing  and  Playing  Children. 

Artist :  Luca  della  Robbia. 

Date  of  Execution :  1431-1440  A.  D. 

Material  of  Monument :  Marble. 

Former  Station :  Cantoria,  or  Organ-balustrade,  over  the 

Sacristy,  in  the  Duomo,  at  Florence. 
Place  of  Exhibition  To-day :  Museum    of  the    Cathedral 
Santa  Maria  del  Flore,  Florence. 

62.  High-relief. 

Subject :  Resurrection  of  our  Lord  from  the  Tomb : 

Angels  and  Roman  Guard. 
Artist :  Luca  della  Robbia. 
Date  of  Execution :  1440-1443  A.  D. 
Material  of  Monument :  Terra-cotta,  glazed:  figures    in 

white  upon  a  blue  background. 
Station :  Interior  of  the  Cathedral,  over  the  door-way  of 

the  Northern  Sacristy,  at  Florence. 

63.  Recumbent  Statue,  with  High-reliefs  and 

Inscription  in  Latin. 
Monument    to    Ser    Benozzo    Federighi,   Bishop   of 

Fiesole. 
Luca  della  Robbia.     1454-1456  A.  D. 
Marble. 
Former  Station :  Church  of  San  Francesco  di  Paola,  near 

Bello  Sguardo. 
Place  of  Exhibition  To-day :  Church  of  Santa  Trinita, 

to  the  right  of  the  High  Altar,  Florence. 

64.  Monument,   with    High-reliefs  and   Latin 

Inscription. 
Coronation    of  the    Madonna :    Angels  and   Saints. 

Below:  Annunciation;  Assumption  of  the  Virgin; 

Nativity. 
Luca  della  Robbia. 
Terra-cotta,  glazed. 
Altar-piece  in  the  Church  of  the  Osservanza,  near  Siena. 


ITALIAN  RENAISSANCE— HALL  9.  137 

65.     Relief. 

Madonna  in  Adoration  :  Angels  and  Symbol  of  the 
Holy  Spirit. 

LUCA  (?)  DELLA  ROBBIA. 

Terra-cotta,  glazed:  reliefs  in  white,  background  in  blue, 
turf-couch  to  the  Infant  in  green,  and  rays  from  the 
Dove  in  gold. 

Former  Station  :  Upon  a  Wall  in  the  Court  of  the  Academy 
of  Fine  Arts,  at  Florence. 

Place  of  Exhibition  To-day  :  Casa  Ricasoli,  Florence. 


66.     Head,  in  high  relief. 
Portrait  of  a  Lady. 

LUCA  DELLA  ROBBIA. 

National  Museum^  Florence, 


67.     High-relief. 

Madonna  and  Infant:  San  Domenico  and  San  Jacopo 
di  Ripoli. 

Andrea  della  Robbia. 

Terra-cotta,    glazed  :    figures  in   white,   background    in    blue, 

nimbus  of  San  Jacopo  in  yellow,  stem  of  the  lily  borne 

by  San  Domenico  green. 
Lunette  over  Portal  of  the  Church  of  San  Jacopo  di  Ripoli, 

converted   now  into  a    military    magazine  \    vla  della 

Scala,  at  Florence. 


68.       HlGH-RELIFF. 

Meeting  of  San  Domenico  and  San  Francesco. 

Andrea  della  Robbia. 

Terra-cotta,  glazed:  faces  and   hands  flesh-colored,  draperies 

polychrome. 
Loggia  di  San   Paolo  (Piazza   di  Santa  Maria  Novella),  at 

Florence.  * 


138  johnston  collection. 

69.     Group. 

Visit  of  the  Virgin  to  Saint  Elizabeth. 

Andrea  della  Robbia. 

Terra-cotta,  glazed  :  enamel  white,  hair  of  the  Virgin  golden, 

outlines  of  draperies  gilded. 
Over  the  Altar  in  the  Church  of  San  Giovanni,  outside  the 
Walls,  of  Pistoja. 


70.     High-relief. 

Annunciation  to  the  Virgin,  by  the  Angel  Gabriel; 
between  them,  a  Lily  springing  from  a  Vase  ;  on 
high,  God  the  Father  surrounded  by  Angels. 

Andrea  della  Robbia. 

Terra-cotta,    glazed  :    figures  in  white,  background   in   blue, 

stem  of  the  lily  in  green,  portions  of  the  reading-desk  in 

brown. 
Former  Station :  Church  of  the  Innocenti,  upon  the  Table 

of  an  Altar,  at  Florence. 
Place  of  Exhibition  To-day  :  Lunette  over  the  Door-way 

leading  from  the  Court  of  the  Ospedale  degli  Innocenti  to 

the  Church  of  Santa  Maria  degli  Innocenti,  Florence, 


71,  72.     Reliefs. 
Foundlings. 
Andrea  della  Robbia. 

Terra-cotta,  glazed,  and  tinted  in  blue  or  brown. 
Exterior  Medallions,  between  Arches,  of  the  Ospedale  degli 
Innocenti,  at  Florence. 


73.     High-relief. 

Madonna  and  Infant:  Emblems  of  God  the  Father 
and  of  the  Holy  Spirit. 

Andrea  della  Robbia. 
y  '    Terra-cotta,  glazed. 

National  Museum,  Florence. 


1 
ITALIAN  RENAISSANCE— HALL  9.  139 

74.  High-relief. 

One  of  the  Seven  Works  of  Mercy. 

Visiting  the  Sick. 
Andrea  and  Giovanni  della  Robbia.     15 14-1525  A.  D. 
Terra-cotta,  glazed  :   background    in    white,  vestments    poly- 
chrome. 
Portion  of  Frieze  running  across  the  Front  of  the  Ospedale 

DEL  CEPPO,  AT  PlSTOjA. 

75.  High-relief. 

One  of  the  Seven  Works  of  Mercy. 

Feeding  the  Poor. 
Andrea  and  Giovanni  della  Robbia.    1514-1525  A.  D. 
Terra-cotta,   glazed  :    background    in  white,    vestments   poly- 
chrome. 
Portion  of  Frieze  running  across  the  Front  of  the  Ospedale 
del  ceppo,  at  plstoja. 

76.  High-relief. 

Coronation  of  the  Madonna:  Saints. 

Giovanni  (?)  della  Robbia. 

Terra-cotta,  glazed  :  figures  in  white,  background  in  blue. 
Lunette  above  the  Portal  of  the  Church  of  the  Ognissanti, 
at  Florence. 

77.  Monument,  with  kneeling  Angels,  Reliefs, 

and  Inscription  in  Latin. 
Tomb  of  Cardinal  Jacopo  di  Portogallo. 
Antonio  Rossellino.     1461-1466  A.  D. 

Marble. 

Chapel  of  Saint  James,   in  the  Church  of  San  Miniato    al 
Monte,  near  Florence. 

78.  Statue,  with  Inscription  in   Latin. 
John  the  Baptist,  when  a  Child. 

Antonio  Rossellino.     1477  A.  D. 

Marble.  # 

National  Museum,  Florence. 


140  johnston  collection. 

79.  Relief. 

Madonna  "del  Latte":  a  Monument  to  Francesco 
Neri. 

Antonio  Rossellino.     1478  A.  D. 

Church  of  Santa  Croce,  Right  Aisle  on  the  Pillar  opposite 
the  Tomb  of  Michel- angelo,  at  Florence. 

80.  Relief. 

Adoration  of  the  Infant  by  the   Madonna,  and  the 

Shepherds. 
Antonio  Rossellino. 
Marble. 
National  Museum,  Florence. 

81.  Low-relief. 
Madonna,  presenting  Infant. 
Antonio  Rossellino. 

Via  della  Spada,  Florence. 

82.  Statuette. 
Christ-child :  "  Gesu  Bambino." 
Desiderio  da  Settignano. 
Marble. 

Church  of  San  Lorenzo,  upon  an  Altar  in  the  Chapel  of  the 
Sacrament,  at  the  end  of  the  Northern  Transept, 
in  Florence. 

83.  Low-relief. 
Madonna  and  Infant. 

Desiderio  da  Settignano. 

Marble. 

Pinacoteca,  Turin. 

84.  Low-relief. 
Madonna  and  Infant.. 

Desiderio  da  Settignano. 

Palazzo  Panciatichl,  upon  exterior  corner,  in  Via  Cavour, 
at  Florence. 


ITALIAN  RENAISSANCE— HALL  9.  141 

85.  Relief. 
Madonna  and  Infant. 

MlNO  DA  FlESOLE. 

Marble. 

Museum  of  Berlin. 

86.  Monument,  with  Head,  Reliefs  and  Latin 

Inscriptions. 
Tomb  of  Bishop  Leonardo  Salutati. 
Mino  da  Fiesole.     About  1462  A.  D. 
Marble. 

Cathedral,   in  the  Chapel  to  the  Right  of  the  Choir,  at 
Fiesole,  near  Florence. 

87.  Monument,  with    Reliefs  and   Inscription 

in  Latin. 
Tomb  of  Cardinal  Cristoforo  della  Rovere. 
Mino  da  Fiesole.     1480  A.  D. 
Marble. 
Church  of  Santa  Maria  del  Popolo,  Capella  della  Rovere, 

to  the  left,  at  rome. 
The  Capella  della  Rovere,  is  now  styled  Capella  Venuti. 

88.  High-relief:  Rondel  resting  upon  Bracket. 
Madonna  and  Infant. 

Mino  da  Fiesole. 

Marble. 

Former  Station  :  Church  of  the  Badia,  at  Florence. 

Place  of  Exhibition  To-day  :  National  Museum,  Florence, 

89.  High-relief. 

Madonna  and  Young  John  the  Baptist  adoring  the 

Infant  Christ:  San  Lorenzo  and  San  Remigio  in 

side-niches. 
Mino  da  Fiesole. 
Marble. 
Dossal  of  Altar  in  the  Cathedral,  opposite  the  Tomb  of  Bishop 

Salutati  by  whose  order  it  was  executed  :  at  Fiesolei 

near  Florence. 


142  JOHNSTON  COLLECTION. 

90.  High-relief. 

Madonna,  presenting  the  Infant. 

MlNO  DA  FlESOLE. 

National  Museum,  Florence. 

91.  Statuette. 

Genius,  flying  and  running  off  with  a  Dolphin. 

Andrea  del  Verrocchio. 

Bronze. 

Former  Station  :  Executed  for  Lorenzo  de'  Medici  to  adorn 

a  Fountain  at  the  Villa  Careggi. 
Place  of  Exhibition  To-day :  Surmountifig  the  Basin  in 

the  Court  of  Palazzo  Vecchio,  Florence. 

92.  Statuette. 

Boy,  in  pose  similar  to  that  of  the  Fountain-genius. 

Andrea  del  Verrocchio. 

Terra-cotta. 

Palazzo  Vecchio,  Florence. 

93.  94.     Half-size  Statues. 
Angels,  kneeling  in  Adoration. 
Matteo  Civitali.     1473  A.  D. 
Marble. 

Right  Transept  of  the  Cathedral  of  San  Martino,  Tabernacle 
in  the  Capella  del  Sacramento,  at  Lucca. 

95.  Relief. 

Monument  of  Saint  Romanus. 

Matteo  Civitali.     1490  A.  D. 

Marble. 

Church  of  San  Romano,  at  Lucca. 

96.  Head. 

Portrait  of  San  Regolo. 

Matteo  Civitali.     1484  A.  D. 

Cathedral   of   San    Martino,  Altar   of   Saint   Regulus,    at 
Lucca. 


ITALIAN  RENAISSANCE-HALL  9.  143 

97.     Relief. 
Faith. 
Matteo  Civitali. 

Marble. 

Former  Station  :  Gallery  of  the  Uffizi,  at  Florence. 

Place  of  Exhibition  To-day  :  National  Museum ,  Florence. 


98.     High-relief. 

Madonna,  nursing  Infant. 

Matteo  Civitali. 

Church  of  Santa  TrinitA,  at  Lucca. 


99.     High-relief. 

Madonna  and  Infant. 
Francesco  di  Simone  Ferrucci. 
Church  of  San  Domenico,  at  Bologna. 


100.     Relief. 

Madonna  and  Infant. 
Benedetto  da  Majano. 
Collection  of  the  Libri  Family \  Paris. 


101.     Group. 

Madonna  and  Infant. 
Benedetto  da  Majano. 
Marble. 

Oratory  of  the  Misericordia,  in  a  side  room  on  the  Right-hand, 
at  Florence. 


102,  103,  104,  105.     Reliefs. 
The  Four  Evangelists. 
Benedetto  da  Majano.     1480  A.  D. 
Church  of  San  Domenico,  Medallion-reliefs  upon  the  pedestal 

OF  THE  ClBORIUM,  AT  SlENA. 


144  JOHNSTON  COLLECTION. 

106.     Statue. 

John  the  Baptist. 

Benedetto  da  Majano.     1481  A.  D. 

Marble. 

Former  Stations:  Palazzo  Vecchio,  Door  in  the  Sala  dell' 

Udienza,  at  Florence. 
Place  of  Exhibition  To-day  :  National  Museum,  Florence. 


107.     Relief. 

Madonna  and  Infant. 
Benedetto  da  Majano.     1491  A.  D. 

Church  of  Santa  Maria  Novella,  Monument  to  Filippo  Strozzi, 
at  Florence. 


108.     Relief  :  Rondel-frame  of  flowers,  fruits, 

and  Cherubim. 
Madonna  and  Infant. 
Benedetto  da  Majano.     1494  A.  D. 
Marble. 
Church  of  Sant'  Agostino,  above  the  Altar  of  San  Bartolo, 

at  San  Gemignano  in  Tuscany. 


109.     Group. 

Bacchus  when  a  Boy,  and  Faun. 

Jacopo  Sansovino. 

Marble. 

National  Museum,  Florence. 


no.     Statue. 

Mercury,  flying. 

Giovanni  da  Bologna.     Prior  to  1564  A.  D. 
Bronze. 
'    Former  Station  :  Fountain  of  the  Villa  Medici,  at  Rome. 
Place  of  Exhibition  To-day:  National  Museum,  Florence. 


ITALIAN  RENAISSANCE— HALL  10.  145 

111.  Monument,  with  Relief.     (Hall  9.) 
Tomb   of   Cardinal    and    Bishop  of   Padua,    Pietro 

Foscari. 
Riccio  ?  Antonio  di  Giovanni  Bregno  ? 
Soon  after  1485  A.  D. 
Bronze. 
Church  of  Santa  Maria  del  Popolo,  Capella  Giovanni  della 

Rovere,  at  Rome. 

112.  Relief.     (Hall  10.) 
Subject;  Mask  of  a  Faun. 
Artist:  Michel-angelo  Buonarroti. 
Date  of  Execution :  1488-1489  A.  D. 
Material  of  Monument :  Marble. 

Station:  Until  recently  in  the  Gallery  of  the  Uffizi,   at 

Florence. 
Place  of  Exhibition  To-day :  National  Musewn,  Florence. 

113.  Relief. 

Battle  of  Centaurs  against  Hercules. 

Michel-angelo  Buonarroti.     1490-1492  A.  D. 

Marble. 

Gallery  of  the  Casa  Buonarroti,  Florence. 

114.  Statue. 
John  the  Baptist. 

Michel-angelo  Buonarroti.      1495  A.  D. 

Marble. 

Station :  Executed  for  Lorenzo  di  Pierfrancesco  de'  Medici. 
Rediscovered  at  Pisa,  in  the  year  1874,  in  the  possession 
of  Count  Rossellmini  Gualandi,  until  then  supposed  to  be 
a  work  of  donatello  or  of  clvitali. 

Place  of  Exhibition  To-day  :  Museum  of  Berlin. 

115.  Group. 

Bacchus  drunken,  and  Faun. 

Michel-angelo  Buonarroti.     1496-1498  A.  D. 

Marble. 

Executed  for  Jacopo  Gallo.     Placed  in  the  Gallery  of  the 

Uffizi,  at  Florence. 
National  Musewn,  Florence. 


146  JOHNSTON  COLLECTION. 

116.  Statue. 
Cupid. 

MlCHEL-ANGELO  BUONARROTI.       1496-1498  A.  D. 

Garble. 

Executed  for  Jacopo  Gallo.  Brought  to  light  from  the 
gualfonda  gardens,  at  florence,  about  the  year  1850,  by 
Professor  Miliarini  and  the  Sculptor  Santarelli. 

Museum  of  South  Kensington,  London. 

117.  Group,  with  Inscription  of  Artist's  name  in 

Latin  upon  the  Girdle  of  the  Madonna 

-"MICHAEL  ANGLVS  BONAROTVS  FLORENT.  FACIEBAT." 
La  Pieta. 

MlCHEL-ANGELO  BUONARROTI.       1498-1499  A.  D. 

Marble. 

Executed  for  the  French  Ambassador,  Cardinal  Jean  Villiers 

de  la  Grolaie,  Abbot  of  Saint  Denis.      Placed   in    the 

Chapel  of  the  Madonna  della  Febbre,  in  the  old  Basilica 

of  Saint  Peter,  at  Rome. 
Basilica  of  San  Pietro  in  Vaticano,  Right  Aisle,  Capella  della 

Pieta. 

118.  Head. 

David  :   "  II  Gigante." 

MlCHEL-ANGELO  BUONARROTI.       1503-1504  A.  D. 

Marble. 

Palazzo  Vecchio,  gate  of  the  Signoria,  at  Florence. 
Accademia  delle  Belle  Arti,  G  alter  ia  Antic  a  e  Aloderna  {Central 
Saloon),  Florence. 

119.  Relief. 

Madonna,  the  Divine  Child,  and  Young  Saint  John 
the  Baptist. 

MlCHEL-ANGELO  BUONARROTI.       1503-1504  A.  D. 

Marble. 

National  Museum,  Florence. 

120.  Statue. 
The  Christ. 

Michel-angelo  Buonarroti.     1514-1521  A.  D. 
Marble. 

Church  of  Santa  Maria  sopra  Minerva,  to  the  left  of  the 
High  Altar,  at  Rome. 


ITALIAN  RENAISSANCE— HALL  10.  147 

121,  122,  123.     Statues. 
Monumental  Figures. 

121.  Portrait-statue  of  Giuliano  de'  Medici,  seated. 

122.  Night,  sleeping. 

123.  Day,  awaking  for  Labor. 
MlCHEL-ANGELO  BUONARROTI.       1529-1531    A.  D. 

Marble. 

Tomb  of  Giuliano  de'  Medici,  in  the  Sagrestia  Nuova  of  the 
Church  of  San  Lorenzo,  at  Florence. 

124,  125,  126.     Statues. 

Monumental  Figures. 

124.  Hero,  seated  and  helmeted :    '  II    Pensiero,'    allegorical  of 

Profound  Thought. 

125.  Evening. 

126.  Dawn. 

MlCHEL-ANGELO  BUONARROTI.       1529-1531  A.  D. 

Marble. 

Tomb  of  Lorenzo  de'  Medici  in  the  Sagrestia  Nuova  of  the 
Church  of  San  Lorenzo,  at  Florence. 

127.  Group. 
Madonna  and  Infant. 

MlCHEL-ANGELO  BUONARROTI.       1531  A.  D. 

Marble. 

Sagrestia  Nuova  of  the  Church  of  San  Lorenzo,  at  Florence. 

128.  Altar-decoration. 
Candelabrum. 

MlCHEL-ANGELO  BUONARROTI  ? 

Cappella  di  San  Lorenzo,  Florence. 

129.  Statue. 
Jason. 

MlCHEL-ANGELO     BUONARROTI  ?    OR    ONE    OF    HIS    EARLIER 

Scholars.     1530  ?  A.  D. 
Marble. 
Former  Station :  Gardens  of  the  Palazzo  Strozzi,  where  it 

STOOD  UNDER  THE  PORTICO  DEGLI  ORTI  ORICELLAI,  AT  FLORENCE. 

Place  of  Exhibition  To-day ;  Museum  of  South  Kensington, 
London. 


148  JOHNSTON  COLLECTION. 

130.  Statue. 
Apollo. 

MlCHEL-ANGELO  BUONARROTI.       1534  A.  D. 

Marble. 

Former  Station  :  Theatre  of  the  Boboli  Gardens. 

Place  of  Exhibition  To-day  :  National  Museum,  Florence. 

131.  Statue. 
Moses. 

MlCHEL-ANGELO  BUONARROTI.       1542-1550  A.  D. 

Carrara  Marble. 

Monument  to  Pope  Julius  II.,  near  the  end  of  the  Right  Aisle, 
in  the  Church  of  San  Pietro  in  Vincoli,  at  Rome. 

132.  Statue. 

Captive,  wearied  or  musing. 

MlCHEL-ANGELO  BUONARROTI.       1542-1550  A.  D. 

Carrara  Marble. 

Station:  Telamon  symbolic  of  a  Province  added  to  the 
possessions  of  the  Church,  intended  for  the  Monument  of 
Pope  Julius  II.,  in  the  Church  of  San  Pietro  in  Vincoli,  at 
Rome.  Presented  to  Ruberto  degli  Strozzi.  Collection 
of  the  Constable  de  Montmorenci  at  Ecouen.  Bought  by 
M.  Lenoir  for  the  Nation  in  the  year  1793. 

Place  of  Exhibition  To-day :  Museum  of  the  Louvre,  Paris. 

133.  Statue. 

Captive,  struggling  to  burst  his  bond. 

Michel-angelo  Buonarroti.     1542-1550  A.  D. 

Carrara  Marble. 

Station :  Telamon  symbolic  of  a  Province  added  to  the 
possessions  of  the  Church,  intended  for  the  Monument  of 
Pope  Julius  II.,  in  the  Church  of  San  Pietro  in  Vincoli,  at 
Rome.  Presented  to  Ruberto  degli  Strozzi.  Collection 
of  the  Constable  de  Montmorenci  at  Ecouen.  Bought  by 
M.  Lenoir  for  the  Nation  in  the  year  1793. 

Place  of  Exhibition  To-day  :  Museum  of  the  Louvre,  Paris. 


ITALIAN  RENAISSANCE— HALL  10.  149 

134.  Group.   * 

Adonis,  dying  from  the  "Wound  of  a  Boar. 

MlCHEL-ANGELO  BUONARROTI.       1542-1550  A.  D. 

Carrara  Marble. 

Station  :  Designed  for  the  Monument  of  Pope  Julius  II.,  in 
the  Church  of  San  Pietro  in  Vincoli,  at  Rome.  Until  of 
late,  Gallery  of  the  Uffizi,  at  Florence. 

Place  of  Exhibition  To-day  :  National  Museum,  Florence. 

135.  Statue. 

La  Pieta  •  the   Madonna,  one   of   the    Maries,   and 
Nicodemus  with  the  features  of  the  Sculptor  himself. 

MlCHEL-ANGELO  BUONARROTI.    1553  A.  D. 

*      Marble. 

Designed  by  Michel-angelo  for  his  own  Monument.  Cathedral 
of  Santa  Maria  del  Fiore,  behind  the  High  Altar,  at 
Florence. 

136.  Relief. 

Madonna  and  the  Lifeless  Redeemer. 

MlCHEL-ANGELO  BUONARROTI  ?      About  1554  A.  D.  ? 

Marble. 

Albergo  del  Poveri,  Genoa. 

137.  Relief. 
Lid  of  a  Chest. 

MlCHEL-ANGELO  BUONARROTI. 

Bronze. 

National  Museum,  Florence. 

138, 139.     Reliefs. 

Architectural  Ornaments. 

Details  of  a  Facade  erected  by  the  Lombardi. 

In  the  year  1485  A.  D. 

Portal  of  the  Ospedale  Civile  (Scuola  di  San  Marco),  adjoin- 
ing the  Dominican  Church  of  SS.  Giovanni  e  Paolo,  at 
Venice. 


150  JOHNSTON  COLLECTION. 

140.  Reliefs. 

Children,  dancing  and  playing,  on  either  side  of  a 

Portrait-medallion  in  high-relief. 
Ambrogio  Foppa,  called  *  Caradosso.' 
Fifteenth  Century,  A.  D. 
Terra-cotta,  painted. 
Octagonal  Sacristy,  off  the  Right  Transept  in  ihe  Church  of 

San  Satiro,  at  Milan. 

141.  Architectural  Ornament. 
Flag-bracket. 

Designed  by  Giacomo  Cozzarelli.    Erected  in  1508  A.  D. 

Bronze. 

Exterior  of  the  Palazzo  Magnifico,  in  Siena. 

142.  Monument,  with  Inscription   in  Latin. 
Tomb  of  Gian  Galeazzo  Visconti :  one  end  only,  with 

Battle-scene. 

Designed  by  Galeazzo  Pellegrini  :  executed  chiefly 
by  Antonio  Amadeo  and  Giacomo  della  Porta. 

Begun  about  1490  A.  D.  :  finished  before  1562. 

The  Carthusian  Monastery,  now  a  National  Monument,  Right 
Transept,  Certosa  di  Pavia. 

143.  144,  145.     Busts. 

Subjects:  Portraits  of  Gian  Galeazzo  Visconti,  of 
Lodovico  Moro,  and  of  his  wife  Beatrice  d'  Este. 

Artist  of  the  two  last  named :  Cristoforo  Solari. 

Date  of  Execution  :  Shortly  after  1497  A.  D. 

Station  :  Prior  to  1564  A.  D.,  Church  of  Santa  Maria  della 

Grazie,  at  Milan. 
Place  of  Exhibition  To-day  :  Left  Transept  in  the  Certosa 

di  Pavia, 

i 

146  to  152. 

Portrait  -  medallions    of   the    Visconti    and    Sforza 

Families. 
Giovanni  Antonio  Amadeo. 
Marble. 
"Portal  of  the  Sagrestia  antic  a,  and  Frame  of  the  Door-way 

on  the  Right  of  the  Choir,  Certosa  di  Pavia. 


ITALIAN  RENAISSANCE— HALL  10.  151 

153.     Window  and  Balcony,  with  Inscription  in 
Latin. 
Architectural  Detail  in  Classic  Style. 
Designed  by  Bramante:  begun  by  Cardinal  Mezzarota. 
Completed  in   the   year  1495  A.  D.,  by  Cardinal  Raffaelo 

Riario. 
Marble. 
Palazzo  della  Cancelleria,  at  Rome. 


154  to  160.     Monument,  with  High-reliefs. 

Portions  of  the  Tomb,  and  recumbent  Portrait- effigy, 
of  Gaston  de  Foix. 

Agostino  Busti,  called  'Bambaja.'     1523-1525  A.  D. 
Former  Station :    Monastery  of  Santa  Marta. 
Place  of  Exhibition  To-day :    The  Brera,  Museo  Archeo- 
logic 0,  Milan. 

161.  Monument,  with  High-relief. 

Subject:  Portrait-effigy  of  Guidarello  Guidarelli: 
Knight  of  Ravenna. 

Artist:    Tullio  Lombardi? 
Date  of  Execution :    Subsequent  to  1502  A.  D. 
Material  of  Monument :    Marble. 

Place  of  Exhibition  To-day :  Accademia  delle  Belle  Arti, 
Ravenna. 

162.  Head,  of  a  Statue. 

Saint  Petronius,  from  the  group  of  the  Madonna, 
seated,  presenting  Infant :  Saints  Petronius  and 
Ambrose. 

Jacopo  della  Quercia.     1425  to  1438  A.  D. 

Marble. 

Pediment  of  the  Principal  Entrance  to  the  Basilica  of  San 
Petronio,  at  Bologna. 


152  JOHNSTON  COLLECTION. 

163.     Relief. 

Madonna,  nursing  Infant :  Cherubim. 

Jacopo  della  Quercia.     1437  A.  D. 
**  Marble. 
Church  of  San  Francesco,  at  Siena. 


164.  Head,  of  a  Statue. 

Saint  Ambrose,  from  the  group  of  the  Madonna, 
seated,  presenting  Infant :  Saints  Petronius  and 
Ambrose. 

Jacopo  della  Quercia.     1425  to  1438  A.  D. 
Marble. 

Pediment  of  the  Central  Entrance  to  the  Basilica  of  San 
Petronio,  at  Bologna. 

165.  Relief  :  central   figure  in  a  larger  com- 

position. 
Madonna,  in  adoration. 

Antonio  Rossellino.     1477  A.  D. 

Marble. 

National  Museum,  Florence. 

166.  Relief. 

Madonna,  presenting  Infant. 

Antonio  Rossellino.     1477  A.  D. 

Marble. 

Villa  Poggio  Imperiale,  near  Florence, 

167.  Bust,  executed  from  Death-mask. 

Portrait  of  Filippo  Brunelleschi. 

A  Florentine  Master.     1446  A.  D. 

Marble. 

Museo  di  Santa  Maria  del  Fiore,  Florence. 


italian  renaissance— hall  9.  153 

168.  Relief. 

Armorial  Bearing  of  the  Spinelli  Family. 
Filippo  Brunelleschi.     1420  (?)  A.  D. 
Marble. 

Door  of  the  Cloisters  adjoining  the  Church  of  Santa  Croce, 
at  Florence. 

169.  Relief. 

Trial  of  Abraham's  Faith. 

Filippo  Brunelleschi.     1403  A.  D. 

Bronze. 

Specimen  offered  in  competition  for  the  commission  to  execute 
the  Gates  of  the  Northern,  or  Second,  Door  in  the  Bap- 
tistery, or  Church  of  San  Giovanni  BAttista,  at  Florence. 

National  Museum,  Florence. 

170.  Relief. 

Trial  of  Abraham's  Faith. 

Lorenzo  Ghiberti.     1403  A.  D. 

Bronze.  ,■ 

Specimen  offered  in  competition  for  the  commission  to  execute 
the  Gates  of  the  Northern,  or  Second,  Door  in  the  Bap- 
tistery, or  Church  of  San  Giovanni  Battista,  at  Florence. 
National  Museum,  Florence, 

171  to  174.     High-reliefs. 
Symbols  of  the  Evangelists. 

171.  Matthew. 

172.  Mark. 

173.  Luke. 

174.  John. 

Executed  under  the  Direction  of  Donatello,  by  his 
four  principal  pupils — glovanni  of  plsa,  antonio 
Celino  of  Pisa,  Urbano  of  Florence  or  of  Cor- 
tona,  and  Francesco  del  Valente.     1446  A.  D. 

Bronze. 

Sepulchral  Church  of  San  Antonio,  Choir,  below  the  organ, 
at  Padua. 


154  JOHNSTON  COLLECTION. 

175.  Head,  of  a  Statue. 
Grand  Crucifix. 

DONATELLO,    WITH    THE    AID    OF    HIS    PUPIL    GlOVANNI    DA 

Pisa.     1444  A.  D. 
Bronze. 
Choir  of  the  Sepulchral  Church  of  San  Antonio,  at  Padua. 

176.  Relief. 
Pieta. 

DONATELLO.       1444  A.  D. 

Bronze.  x 

Choir  of  the  Sepulchral  Church  of  San  Antonio,  at  Padua. 

177.  Head. 
Niccold  da  Uzzano. 
Donatello.     About  1425  A.  D. 
Terra-cotta,  colored. 

Formerly  in  the  Possession  of  the  Capponi  Family. 
National  Museum,  Florence. 

178.  Low-relief. 

Madonna,  and  Infant :  Cherubim. 

Antonio  Rossellino. 

Marble. 

Museum  of  South  Kensington,  London, 

179.  Bust. 

Saint  John  the  Baptist. 

Donatello.     1420  to  1425  A.  D. 

Marble. 

Church  of  San  Francesco  de*  Vanchettoni,  Florence. 

180.  Head. 

Saint  John  the  Baptist. 

MlNO  DA  FlESOLE. 

Formerly  in  the  His  de  la  Salle  Collection. 
Museum  of  the  Louvre,  Paris. 


ITALIAN  RENAISSANCE— HALL  9  155 

181.  Bust. 

Saint  John  the  Baptist. 

Donatello.     Toward  1460  A.  D. 

Marble. 

Pinacoteca  at  Faenza,  in  Northern  Italy. 

182.  Relief. 

Madonna,  kneeling  and  adoring  Infant  cradled  upon 
turf  beneath  a  lily-plant  in  bloom  :  above  the 
Mother  a  crown  sustained  by  hands,  Cherubim. 

Andrea  della  Robbia. 

Terra-cotta,  glazed  :    figures  in  white  upon  a  background  in 

blue. 
Court  of  the  Academy  of  Fine  Arts,  Florence. 

183.  Relief. 

Madonna,  and  Infant,  standing :  Cherubim. 

Andrea  della  Robbia. 
Terra-cotta,  glazed  in  part. 
National  Museum,  Florence. 

184.  185,  186.     High-reliefs. 
Life  of  the  Virgin  Mary. 

184.  Annunciation:  the  Angel  Gabriel. 

185.  Immaculate  Conception. 

186.  Annunciation :  the  Virgin. 

A  Master  of  the  Roman  School. 
Fifteenth  Century,  A.  D. 
Marble. 

Church  of  Santa  Maria  del  Popolo,  Fourth  Chapel  on  the  left% 
Rome. 

187.     High-relief. 

Madonna,  presenting  Infant. 
Andrea  del  Verrocchio. 
Terra-cotta. 

Vestibule  of  the  Picture-gallery  to  the  Ospedale  di  Santa  Maria 
Nuova,  Florence. 


156  JOHNSTON  COLLECTION. 

188.  Relief. 

Profile  of  John  the  Baptist,  in  youth. 

DONATELLO. 

National  Museum ,  Florence. 

189,  190.     High-reliefs. 

Angels,  singing   and  playing   upon  Musical  Instru- 
ments. 

189.  Angel  beating  tambourine. 

190.  Two  Angels  singing  from  a  note-book. 
Donatello.  Soon  after  1424  or  1425  A.  D. 
Bronze. 

Choir  in  the  Sepulchral  Church  of  San  Antonio,  at  Padua. 

191.  Low-relief. 

Saint  Jerome,  at  Prayer  in  the  Desert. 

Donatello. 

192.  Low-relief. 
Entombment  of  Christ  crucified. 
Agostino  di  Guccio. 

Middle  of  the  Fifteenth  Century,  A.  D. 

Bronze. 

National  Museum^  Florence. 

193.  Relief. 

Entombment  of  the  crucified  Christ. 
Andrea  del  Verrocchio. 
Terra-cotta. 
Museum  of  Berlin. 

m 

194.  Low-relief. 

John  the  Baptist  adoring  the  Christ,  both  in  child- 
hood. ^ 
Donatello. 
Florence. 


ITALIAN  RENAISSANCE— HALL  10.  157 

195.  Relief. 

Madonna,  and  Infant,  standing  between  four  Saints. 

Jacopo  Sansovino.     Between  15 16  and  1523  A.  D.  ? 
Terra-cotta,  painted. 
Museum  of  Berlin. 

196.  Relief. 

Tabernacle  :  four  Angels  in  worship. 

Andrea  Bregno. 

Last  half  of  the  Fifteenth  Century,  A.  D. 

Marble. 

Museum  of  Berlin. 

197.  Bust  :  unfinished,  with  Inscription. 
M.  Junius  Brutus. 

Michelangelo  Buonarroti.     1539  A.  D. 

Marble. 

Begun    for    Cardinal    Ridolfi,   at    the    request    of    Donato 

GlANNOTTI. 

National  Museum ,  Florence. 

198.  High-relief. 

Andromeda  delivered  from  the  sea-monster  by 
Perseus. 

Benvenuto  Cellini.     1553  A.  D. 

Bronze. 

Central  portion  of  Pedestal  to  the  Group,  also  in  Bronze,  of 
"Perseus,  and  the  Medousa,  beheaded"  standing  on  the 
Left  within  the  Loggia  dei  Lanzi,  at  Florence. 

199.  High-relief:  Lunette. 

Evangelist  John,  with  his  symbol  the  Eagle, 
receiving  the  homage  of  members  of  the  School 
of  Saint  John  in  Venice. 

A  Venetian  Master.     About  1450  A.  D. 

Istrian  Limestone. 
%  Museum  of  Berlin. 

200.  Head. 

Portrait  of  Lorenzo  il  Magnifico. 

Della  Robbia? 

Terra-cotta. 


ENUMERATION. 


Marquand  Collection  : 

Egyptian  Section,    .....  74 

Assyrian  Section,          .          .          .          .  -45 

Persian  Section,       .          .          .          .          .  17 

Archaic  Greek  Section,         .          .          .  .    93 

Olympian  Section,  .....  139 


Herculaneum-villa  Collection  : 


Mediaeval  Collection 


368—368 


Cullum  Collection  : 

Parthenon  Section,           ....  168 

Hellenic  Section,         .         .         •         .  140 

Hellenistic  Section,         ....  36 

Graeco-Roman  Section,        .         .         .  .     38 

Roman  Section,      .....  16 


398—398 


Grecian  Section,     .....  36 

Grseco-Roman  Section,         .         .         .  15 


5i—  5i 


French  Section,  .         .  .         .  -44 

Italian  Section,       .....  2 

46 —  46 
Johnston  Collection  : 

Italian  Renaissance  Section,         .         .  200 — 2od 

1063 


New  York.    ( 


,n?zr 


U  I  VJ 


Metropolijban  museum 
of  art. 


Sculptural  plaster- 


casts  in  haf.ls    6,7,8,9, 
10  and  11 


m 


M542376 


hllo 


